Review Summary: It sounds so sweet and ends so soon...
If you asked me what the sign of a good band is, I’d most likely answer along the lines of willingness to mess about with style. It can be a defining feature, which is all too often left in the dust once a band “makes it”. There are many examples of such bands, as well as of groups finding a steady audience while still making sure to never let their listeners get comfortable. Emerging bands can flirt with experimentation without ever really understanding or grasping what it means. The Gaslight Tinkers’ self-titled debut is not just flirting, however; it bought experimentation a drink and managed to reach second base.
A strange but pleasant mix of folk, country, reggae, synthesisers, blues, funk, and about ten thousand other influences lead to an album comprised of seven tracks of varying style, rhythm, structure, atmosphere. The opener,
Gaslight Ave., kicks off with a solo fiddle, suddenly joined by a keyboard I don’t think anyone was really expecting. Throughout the whole track, I’m not sure one single section is repeated. Layered upon with a generous helping of intricate percussion, a light sprinkling of bass work hinting in the background, sure, but never duplicated. The main highlight is the fiddle-work; competent and varied, it leads the piece to new and exciting places while also making sure it doesn’t run out into the road and get hit by a car. This style returns later, reinvigorated, in
Morrison’s/Bird’s Nest, a coupling of acoustic guitar and fiddle working in tandem to kickstart the engine, before being joined by Carribean-style spiked keyboard and minimalistic percussion.
Pace is changed up repeatedly throughout the record. From the speed and precision of
Nail that Catfish to the Tree to the laid-back attitude of
Scrappy Hinges and the balladic slow of
Quite Early Morning, the album flows through the seven tracks effortlessly. Differentiating between tracks is simple for this and other reasons. Each piece has its own distinctive style, an achievement made possible by their earlier-mentioned experimentation, as well as the competency of all the musicians at work.
Despite being heavily instrumental, The Gaslight Tinkers rarely go wrong with vocals when they are used. Highlights include the dual vocals of
I Ain’t Got No Home, the soft timbre complemented by the delicate drums, the gently strummed guitars.
The Good in Living goes slightly astray for my taste, although objectively it is successful. Lyrics “For old life is like a tune/It sounds so sweet and ends too soon” pop up as the chorus, also serving to show how the track will end: very suddenly.
Quite Early Morning serves as a fitting end, bringing things to a relaxed, sad ending. It reminisces peacefully, both lyrically and musically, a welcome departure from the dance-oriented previous tracks (although they were missed).
Through all tracks, The Gaslight Tinkers’ members exhibit their talent and extraordinary musicianship. They master more genres than some could ever hope to while maintaining a distinctive identity that leaves you wanting more. Teasing at multiple directions for the group leads to me wondering whether they will stick with this breadth of style, or chisel out something incredibly unique and new, in future releases. Hopefully, whatever they go for, this quality will stick around.
