Review Summary: "It’s like thinking about how me and my friends are all weird fucking people, but we’re like these broken toys. We mean well." –Kevin Morby, 2015 interview with passion of the weiss
It’s too bad Kevin Morby decided to stick with
Still Life as the name of his sophomore effort; after all,
Still Life With Rejects From the Land of Misfit Toys has such a nice ring to it. Inspired by an art piece by Maynard Monroe and the famous Rudolph tv-special, the quirky title would nearly match the eccentric mood of the album. Although not quite as reflective as his recent effort,
Singing Saw, the follow-up to
Harlem River finds the former Woods bassist fully realizing his creative vision with ten tracks of folk-rock goodness. His debut was a solid singer-songwriter folk album, but with
Still Life he expands the size of his playing field considerably. The result is the first truly excellent offering in his short, but essential discography.
Right off the bat, it’s apparent that Morby is turning up the heat on his second attempt at a solo album. ‘The Ballad of Arlo Jones’ anxiously bounces through the speakers as the singer’s sarcastic delivery is adjoined with upbeat, country-inspired guitars and clever storytelling. Another highlight would be the chant-ridden ‘Parade’, which combines gorgeous piano notes with the pizzazz of a backing gospel choir. It’s perhaps the album’s contender for strongest track, as the delicate jazz influences and guest vocals allow Morby’s potent lyricism to truly shine. Despite the energy flowing throughout the song, it examines topics such as death and decay, with the “parade” being an effective metaphor for the process we call life. If there’s a track that gives ‘Parade’ a run for its money, it would be the graceful and poetic ‘Amen.’ It’s about as close as we’re ever going to get to a poem in musical form as the songwriter pushes his singing abilities to the limit over deeply reflective lyrics. The sound of his voice cracking as he stretches himself to the edge is an oddly affecting highlight of the album; as heartfelt and meaningful as any ballad or rhyme.
Although
Still Life contains more complex arrangements than its predecessor, some of the tunes still feel quite stripped down, with Morby’s powerful lyricism taking center stage. ‘Bloodsucker’ contains little more than his low croon, but his delivery is nothing short of haunting over poignant verses as he reveals his struggles:
I am trying to make peace inside today, blood on the floor with a knife tied to my name / There is a piece hidden deep inside my mind, It’s hard to reach but I see it from time to time. There is my mother, I am cradled in her arms, I am free, I am same from all that harms, I am free from where you are.
However bleak they may be at times, honest and naked lyrics are Morby’s greatest asset, and they’re found in spades on the artist’s sophomore effort,
Still Life. His voice also displays a generous sense of versatility, sounding similar to Bob Dylan at times, but more akin to the Sputnik fan-favorite, The National, when he unleashes his deeper croons. Like a musical chameleon, he transforms his vocal performance to suit whatever mood he wants to convey during any given song. His inflection is low and brooding throughout slow-burners ‘Dancer’ and ‘Bloodsucker,’ yet he sounds optimistic and full of life on ‘The Ballad of Arlo Jones’ and ‘Motors Runnin.’ All examples aside, there’s not a bad track on the folk-musician’s sophomore effort, largely due to his ability to shift styles as he dabbles in influences ranging from country and folk to americana and jazz.
Just a few short years into his career as a solo artist, and Kevin Morby has already proven himself to be not only an accomplished musician, but a powerful poet as well.
Still Life seamlessly bridges the gap between the more straightforward singer-songwriter folk of his debut and the flashier melodies that adorn his latest success,
Singing Saw. One of songwriter’s strengths behind the pen lies in his ability to connect various themes together in his albums without ever crossing the line of redundancy. The theatrical opener ‘The Jester, The Tramp, & The Acrobat’ sets down the foundation for the entire album, and many topics in that song are revisited down the road: parades, dancing - you name it. He has a special ability to make even the most different sounding songs thrive on a feeling of connection. Individually, the songs on
Still Life are memorable and unique, but within the context of the entire album, they’re simply breathtaking. Morby’s second venture into solo artist territory is a rare experience - one that places you in the passenger seat amidst the singer’s personal demons and insights - all without ever letting up on the gas.
