Chris von Sneidern's Wood + Wire is
probably going to be ignored for precisely the reasons it should be revered:
it's a pop album that values song, skill and sincerity over style.
Listen
people, even Pavement figured out that all the scratchy indie-pop
guitars in the world aren't going to save a half-baked idea. So while the
followers of fashion are showered with praise for transparent stylistic
retreads, von Sneidern is quietly making stunning pop melodic masterpieces that
simply outcraft 90 percent of the nonsense passing for "pop" these
days.
Based
in San Francisco, von Sneidern's handful of albums are barely available outside
of his hometown and are best ordered from his current label, Mod Lang. Good
starting points for comparison would be the blue eyed soul leanings of '80s pop
bands like Squeeze or Crowded House mixed with the more baroque
arrangements of his contemporary Eric Matthews.
Luckily
he manages to avoid the watered down sheen of the former and the gadgetry of
the latter in songs that marry subtle, imaginative arrangements with soaring,
gutsy melodies - sophisticated without pretension and lush without syrup. Most
of this would turn to heavy handed mush in less accomplished hands, but von
Sneidern keeps his wits about him and pulls the heartstrings without having to
pull out all the stops.
It
is, in fact, the restraint on this album which is so impressive. The
songs are towering, even epic, but there's not a tricky gimmick in sight and
even the more explosive rave-ups succeed without hammering "Drama"
into your brain.
Beatles
and Beach Boys comparisons are inevitable, perhaps, but apt in their suggestion
of the taste and smarts it takes to deliver this kind of pop. A thoughtful
smattering of harpsichords, trumpets and wall-of-Wilson background
vocals help flesh out the picture, too.
There
really isn't a bad song to be found here, but it's the album's centerpiece,
"Circles," which epitomizes von Sneidern's talent - a
gorgeous, bittersweet melody and crashing power pop guitars that melt into a
bridge whose breathtaking choir of "aahs" will bring tears to your
eyes.
Most
of the songs are cut from similar cloth, but von Sneidern gives them all enough
twists and turns to give each a distinctive charm. "Split It" winds
its way from a simple harpsichord driven verse to a thundering chorus, "I
Can See" adds some psychedelic guitars, and there's even a little bossa
nova on the touching "Like Me That Way." These aren't tricks, though
- von Sneidern knows exactly how to frame his snapshots and there's nary a
self-indulgent note on the album.
In
many ways his writing recalls the melodic invention of later-year Chris
Stamey or fellow Bay area pop genius Scott Miller. He shares their
ear for insight, too, in his thoughtful portrayal of relationship roller
coasters. On "Split It" he sings, "you can keep your picture
book, but I'll retain my vision."
If
von Sneidern fails anywhere, it's in his occasional reliance on the clichéd
sweep of a Hammond B3 to add spice where his stunning voice would more
than suffice. A tendency toward these kinds of conventions threatens to smooth
over some of the song's glorious sparkle, but it's rare enough to forgive. And
who knows, perhaps a little more time mastering his craft in obscurity
will allow him to unleash an even more impressive album by the time the music
world wakes up and starts paying attention to artists who just write a good
song-and know how to deliver it. Consider this nearly, flawless album a
challenge to hipsters and lemmings: write a song or go away.
(For
information on ordering Wood + Wire, write to Mod Lang Records, P.O. Box
10111, Berkeley. CA 94709.)