Published vis Shafted! (www.arturogottheshaft.com)
The underground folkrok duo howie&scott released their sophomore, self-produced release in April to a pack of fans with a loyalty bordering on vermicious. Still the best kept secret of the South Central Nebraska music scene, the eclectic sound of the Crete rock pair has matured considerably from the days of Bigger Sounds from Fewer Folk; a maturity that has left the initial core of the h&s vibe largely intact. Strange, experimental chords, odd time signatures, thumping world beats, and Scott Morris’ blazing sax virtuosity all remain in the new record, though some surprises are in store for every listener.
Overall, the CD represents a new sort of accessibility that had been lacking from their previous list. Shorter track times mark the sign of a clear sensibility from the band, with this release lacking the self-indulgent introductions and instrumental breaks from BSfFF. Additionally, either through design or disaster, several easy-going crowd pleasers can be found on the record, though you are never more than a few tracks away from some serious howie&scott experimental sound. Big steaming portions from the Howie Howard lyrical cutlet are served up fresh and tender for the discriminating diner of verbosity and the bright, defined sound of his dissonant rhythm has remained untouched through the evolution from Bigger Sounds. Scott has raised the bar yet again on Near and Far, introducing a deep percussion sound that touches the lower intestine in a way that was distinctly missing from the band’s debut. Largely, the feeling from the comparison is not a feeling of evolution in an ugly, No Doubt, sincerity demolishing sense, but that of two experimental folkers all grown up and prepared to rock you until it hurts to keep thinking.
The progressive, thoughtful vibe of the record begins with Staircase. All you ever wanted from the second record is quickly satisfied with HowieÕs percussive progression leading the way. An excellent introduction to the album, Staircase prepares one for some fuller sounds from fewer folk, adding finally the sonorous Scott to compliment Howie’s voice, not quite yet free from the days of covering Dave Matthews but bringing a gut to his latent rasps. Ultimately, Staircase prepares the listener for some truly kicka** songs, a preparation quite necessary for Cornerstone.
Throwing a wrench quickly into the listener’s rhythm, Howard croons over the dissonant, unsettling bed of sound colored by an occasional scream from Scott’s sax. This song has a much different feel from what an h&s fan would expect, with a sound touched clearly by a spooky reverb that keeps the listener disconcerted until the chorus pulls you back from the edge of your chair. There is some difficulty making out Howie’s lyrics through the muddy echo of the tune, which is quite a pity to deprive the initial listener of such poetry, but the theme is seared into your soul as the song bleeds into Well. Scott sounds like a siren from an unholy pit, with Howard providing additional needle touches on the guitar.
The reward for descent into Well is Fourbee, an even more unsettling surprise than Cornerstone. From the metaphysical depths of Cornerstone, howie&scott remind us all of youthful joy with this pop song peppered by Scott’s conga clacks. A radio-ready track densely compacting all that which is h&s in a easy digestable 3:49 tablet, Howie doesn’t let his pop song get too mindless, ensuring that the final thought keeps you cogitating into You Have The Go-Ahead.
A soft introduction to Nexus, howie&scott pair to bring Howard’s lyrics into the spotlight. This song brings one back to a mindset evoked by Bigger Sounds, though with craftsmanship indicative of the band’s new studio seasoning. Perhaps the best example of the h&s adhesion to their original sound, the guitar driven track pays homage to their loyal fans, and we can’t expect to fall.
From the punk allusions presented towards the end of Nexus, the album flirts with the Dark Side by presenting an anthem of frustration. With an introduction keeping the listener guessing, The Broken Anger doesn’t stray from a tried and true folkrok formula of healthy rhythm — and dischordant misanthropy.
My personal favorite of the record, Place Where Something Fell is as progressive as the title suggests, chock full of provocatively vague lyrics. The harmony between Howard and Morris is somewhat strained at times, but again badass songwriting evokes a righteous indignation that simply cannot be quelled. The conclusion of the song in Outside the Crater is a slow, easy letdown into the thoughtful groove that follows.
Marked by a percussive guitar line and Scott’s airy echo of flute, You Already Know The Answer and I’m Not Joking may be the most experimental song on the album. A dense, busy song hardly for the faint of heart, howie&scott’s multi-instrumentality is a flag proudly waved here. Perhaps the most discordant, confusing finish to a song since Weezer’s Pinkerton, the heart of the album’s free experimentation is properly placed here.
But, before the record takes itself too seriously, Scott’s solo debut brings a snap to the fingers and a smile to the face. Fully illustrating Howie’s jazz influence, this uncharacteristic track on an uncharacteristic CD brings fun back to the long journey since Fourbee. A scatacular and sparkling homage set to a jazzy groove that would make Louis Armstrong smile.
Constellations kicks up quickly with the deep, thunderous boom of Scott’s djembe and the spirited strumming of Howard’s Takamine. A laidback tune of galactic proportions, with possibly the finest rhymes of the record. Certainly another classic h&s track, it provides a climax true to the original sound of howie&scott and an excellent segue way to the final song, Under My Protection.
Perhaps the entire record can be summed up in this tune. Experimentation, quality studio work, and a tenacious devotion to the original elements that keep howie&scott one of my favorite bands. Accessible to the new h&s listener and true to their original sound, Near and Far makes it easier than ever to come and join us.
I’m guessing on the date; clearly, it was not long after the record came out. -h, 2011