Campbell: Tuned In: The Magnetic Fields, ALO, Tomeka

Magnetic Fields gets real, too real

“REALISM,” The Magnetic Fields (Nonesuch)

Reality bites.

At least Stephin Merritt’s version of it does.

Merritt’s Magnetic Fields unleashes the new “Realism” as a corollary to 2008’s “Distortion.” The latter was an electrified tribute to the Jesus and Mary Chain and loaded with distorted guitars. The former is the flipside, a ’60s/’70s folk-inspired trip through psychedelia with barely a trace of electricity and no conventional rhythm section. “Realism” avoids studio tampering and sweetening, and the result is disturbingly harsh, subverting the would-be bucolic tones and gentle music with something akin to the brash light of a high-wattage, bare bulb. With the faux-warmth of the folk elements and the uncompromising coldness of the naked instrumentation, Merritt produces yet another off-kilter release that makes for an interesting, if uncomfortable, listen, though he offers limited enticement for repeated listenings.

However, “Realism” is rescued by some whimsical arrangements of Magnetic Fields’ divergent instruments — including ukulele, autoharp, accordion, strings and banjos — plus bright songwriting and the deadpanned singing of the bass-voiced Merritt as well as the otherworldly vocals of Shirley Simms and Claudia Gonson.

In addition to its decades-old roots, the release also sounds like modern Americana on Oxycotin (which may be a little too realistic), spacey and unpredictable. There are ominous calls to dance by zombie-group vocals (“We Are Having a Hootenanny,” “The Dada Polka”) and twisted music-box songs (“Painted Flower” and “The Dolls’ Tea Party,” sung by Simms and Gonson, respectively) among the tracks that bear a resemblence to the twisted-children’s music of Merritt’s Gothic Archies act. Although there’s a general feeling of community in “Realism’s” tone, the raw production — and a lack of substantial cadence to move things along — blunts relatable emotion.

“Realism” is unusually clever, but not unusually good.

Rating (five possible): 3

ALO proves it’s not a small ‘World’ after all

“MAN OF THE WORLD,” ALO (Brushfire)

The band ALO taps into a warm vibe for its new “Man of the World,” fittingly recorded in Hawaii, but this one sat in the sun for too long.

Far be it from easygoing producer Jack Johnson to edit down the act — he’s not exactly know for his formal structure. Instead, he lets the group amble around, burning up its goodwill by overstaying its welcome.

First track “Suspended” is typical of the release as a whole. Pianist/singer Zach Gill’s simple declarations of love in a complicated world are insinuating, gently tethered to keyboards and bass ... that never seem to stop. The cut meanders through instrumental breaks beyond the seven-minute mark, effectively thwarting Gill’s charms.

The manly voiced Gill, who sings lead on many tracks though his bandmates take their turns at the mic, makes astute observations as he weaves through the arrangements. “In the end, we either break or bend or we learn to live inside the tension,” he sings on a “States of Friction” that abuses its cool factor with an over-long ramble. And he brings to mind ’70s singer/songwriters on the soul/country “Big Appetite,” singing, “Why can’t we be happy with what’s happening?”

Meanwhile, a bouncy beat lifts drummer Dave Brogan as he uses a stubborn leaf as a symbol for a dwindling relationship on “Put Away the Past,” and Johnson himself is lead vocalist on the stark (and effectively short) ballad “Gardener’s Grave.”

There are some minor miscues and extended stretches in each of these cuts, but at the core of each is a solid song.

The same can’t be said for the closing trio of tracks: the sketchy “The Country Electro” with bassist Steve Adams singing lead; the half-baked bar-band goof “The Champ” with Brogan doing the main vocals; and the exhausting, cheesy finale, “I Love Music,” featuring Gill.

Somewhere in “Man of the World” is about 20 to 25 minutes of good material. Unfortunately, the release is twice that long.

Rating: 3

Tomeka aims higher than most on debut

“THE BLACK HOOD,” Tomeka (Rhyme Cartel)

Tomeka’s debut, “The Black Hood”, is a study in expectations, contradictions and ambitions.

The singer from Tacoma, Wash., goes for a serious soul/rock aura with the help of producer Sir-Mix-A-Lot, which is the first surprise considering his history in lightweight rap.

Yet the earnest Tomeka (last name Williams) wastes no time setting a somber tone, launching the release with “What She Gave,” a grim reflection on the loss of innocence (and grandmothers and softball) and the regret that often follows. Although her vocals are unsteady on the opener, she finds her groove as she belts out the electrified follow up, “Why,” a rocking indictment of vocalists who trade on sexuality to sell their music — a curious stand since her producer is Mr. “Baby Got Back” himself, plus she covers Vanity 6’s “Nasty Girl” later on “The Black Hood.” Tomeka’s hypocrisy is fleeting, however, as she generally attempts more meaningful messages than “Nasty Girl’s” “I’m lookin’ for a man that will do it anywhere, even on a limousine floor.”

For instance, the bluesy title track features a series of vignettes involving violence, drug addiction and sexual abuse of power by a religious figure (nothing new here, but the effort is noble). Also, on the jazzy “Girlfriend” Tomeka empathizes with a married pal who can’t keep her infidelity in check (“Even though she knows it’s wrong, she just can give up”).

“The Black Hood’s” most poignant moment comes with her gospel-flavored plea to the president to bring the troops home, a “Heroes (A Letter to Obama)” driven by the captivating harmonies of backing vocalists Sandra Allen, Sybil Powell and Tomeka. A close second is a revamp of Jr. Walker & The All Stars’ “Way Back Home,” a romantic look at idyllic life in Mississippi (Tomeka’s birth state) featuring capable sax by Scotty Harris.

Overall, “The Black Hood” shows promise in its depth and diversity.

Rating: 3

© 2010, Knoxville News Sentinel Co.
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