What could be more vulgar than a bespectacled, James Dean look-alike indie artist with an acoustic guitar? But don’t rush to conclusions.
Mr. Messersmith’s discography totals three full length albums: The Alcatraz Kid (2006), The Silver City (2008) and The Reluctant Graveyard (2010). Despite the fact that the cover of the latest release resembles child's drawings of Tim Burton, titled in Charles Baudelaire’s best traditions, it successfully continues series of front covers in Minnesota youngster’s discography.
The album opens with a rather frivolous staccato of Lazy Bones. But don’t be mislead by the beatlesque sound of this track. Baiting the audience with unpretentious indie-pop song appears to be a history of a misspent youth. And while its brisk chords pave the way to the listener, the second song of the album makes Jeremy Messersmith’s “reluctant graveyard” more distinct. In Dillinger Eyes, exploring the life-and-death topic on behalf of the "public enemy number one", Messersmith emphasizes on "Dillinger eyes", making them the main character of the biopic. According to the protagonist, they are a symbol of the inevitable fate tragicness. And these very eyes grant fame to a photographer, who depicts the death of the great robber. But the genuine beauty of the song is revealed in the middle of the track, when catchy bass line cuts the acidic Cream-like guitar riff.
"I was born in a mortuary. Full of worry. Ice water in my veins". Organ Donor is one of the TOP songs from the Reluctant Graveyard, baked in Messersmith’s kitchen from diary notes of people who gave parts of themselves to another person at least once in a lifetime. Being a prolific music-chef, Jeremy doesn’t forget about the flavoring - this time, author has found a jar signed "barocco" on his grandfather’s attic and generously seasoned the meal. Organ Donor is literally mesmerizing with melancholy which is “dead tied” to the soulful lyrics.
Can’t but note the chamber atmosphere piercing the album; and not only is it a proficient combination of acoustic guitars, polyphonic singing and talented orchestras. Jeremy creates vivid images, conducts a whole theater, gradually surrounding the listener. The next track echoes its predecessor: Toussaint Grey First In Life And Death is built upon the childhood pictures, and decorated with Dylan-like harmonica in the middle. Violet! and Knots were placed in the center of the LP on purpose - they serve as a kind of intermission which allows Messersmith to be a bit more positive than it is prescribed in his in his daily schedule. And that seems quite logical, taking into account that the second part of the album commences with John The Determinist, woven from the vocal, orchestra and the wildest doom, which, most probably, Jeremy has been collecting from obituaries for more at least a year. But, of course, the track is beautiful, at a certain point it gives a sentiment that each violin sounds not in the head, but in the chest. And when Messersmith sings "All you silly things, I got you figured out ..", a part of you tacitly understands what it’s about.
But a gem, his masterpiece, Mr. Messersmith hid under the song number 8. In the 2005 Death Cab For Cutie released Plans with the legendary I will follow you into the dark. A Boy A Girl And A Graveyard is located in the same thematic range, but at a slightly different angle. Like Ben Gibbard, Jeremy sings of love in spite of death. But unlike Gibbard’s monologue, the main characters A Boy, do not talk about plans for life after death, not about love after the grave, on the contrary: "Life's a game we're meant to lose, but stick by me and I will stick by you.." – they are tired of wasting time, which is running out. The whole atmosphere of the cemetery, to which we are led up step-by-step, culminates in the 8th track. This is where the singer from Minnesota blossoms: he speaks of death in such a way that you desire to live. He speaks of love without using any template phrases – stays in the halftones, but crystal clear. And this cello, spread with a its lace on a musical canvas ... it tears the heart into shreds. The true magic.
In my opinion, finishing album with this song was more than logical, but Jeremy thought different. The next track – Repo man, sounds like a failed take on John The Determinist. Deathbed Salesman might have been put into the first half of the LP. It quite awkwardly tries to regain the rhythm Organ Donor, instead. Generally speaking, the last three tracks seem to be incredibly dull against the album’s background, not capable to reach the established level. The last song - Tomorrow, is merely in a sideline. Sad, but I wanted to reward myself with a medal for endurance, after listening to the last track.
You can’t call the album Reluctant Graveyard too conceptual. Yes, the topic of death walks through the length and breadth of each song, but it doesn’t look like an ode to the Ripper or a gothic anthem. The highlighted cemetery is our world, and Jeremy Messersmith uses flamboyant images as tools descriptively expose not death, but life. And what’s more, Jeremy shows how a conventional cello can make a severe 23-year-old Irishman shed a man's avaricious tear.
