Wednesday 30 Jul
 
 

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday

Opolis

113 N. Crawford Ave., Norman

opolis.org

447-3417

$7

07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.

bluedoorokc.com

524-0738

$15

07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Friday-Saturday
Downtown Tulsa 
centeroftheuniversefestival.com 
$35-$50 

07/22/2014 | Comments 0
Home · Articles · Reviews · Folk · The Rural Alberta Advantage —...
Folk
 

The Rural Alberta Advantage — Departing


More somber than its beloved predecessor

Stephen Carradini February 28th, 2011

The Rural Alberta Advantage wrote two of my favorite songs of 2009: “Don’t Haunt This Place” and “The Dethbridge in Lethbridge.”

departing

Both tunes off “Hometowns” rattled and shook with a frantic abandon, despite the fact that they were both alt-folk songs at heart, and one of them was supposed to be depressing.

Having gotten some of their spitfire out of the way, the band wisely eschewed an attempt at “Hometowns Pt. II.” They instead revealed “Departing,” a somber record that could springboard them past “one-and-done” blog-wonder status by alienating lots of fickle bloggers and cementing real fans.

The gripping qualities that bloggers originally perked up for were the band’s wild energy and disregard for any vocal conventions. Nils Edenloff’s pinched yelp smeared itself all over the tunes in the debut; here, he’s much calmer, because “Departing” is a sad album. Its primary contents are not bottled frustration, but resigned wistfulness. They couldn’t get out of their hometown in the first record; now they can’t get back.

“Good Night” is the tired heart of the disc, with Edenloff dropping his voice low and drawling over a calm acoustic guitar. His female accompaniment repeats the titular phrase, driving the weary point home. “Barnes’ House,” although speedy in tempo, is a rumination on the perceived perfection of childhood lives in full view of how terrible the resulting years showed it really to be. The lyrics throughout are much more important and memorable than the music, which is a shift from the debut album as well.

The skittering “Muscle Relaxants” will remind fans of “Dethbridge in Lethbridge” melodically, which is a welcome break from the chilled-out proceedings. “Under the Knife” is the best melding of their animated musical forebears and pensive current lyrical state, as the drums lend a drive that’s uncommon in the rest of the work.

“Departing” is a good album. It’s a more mature version of The Rural Alberta Advantage, and that results in a vastly different experience than the energy of previous RAA. It feels more like a stop on the journey somewhere else, however; this isn’t the final resting place for the band. They don’t feel exactly at home in this sound, regardless of how good several of the tunes sound.

Or maybe I’m not comfortable with the new Rural Alberta Advantage.

Or maybe this is what they wanted the album to do.

All are possible, this album seems to prove.  —Stephen Carradini

 
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