Current Leaves: Pastense

There are a lot of reasons that I don't want to write this review right now, including the fact that I am depressed over a heartbreaking, season ending Mavericks loss. But I suppose that this might actually be the best time to do it, since being depressed and heartbroken seems to compliment the sad and dreamy songs on Current Leaves' impressive debut quite well. And although my depression might be useful for writing this piece (see, I wrote a whole paragraph about it), I didn't need the Mavericks to lose in order to appreciate just how good this record is.

In an attempt to find a "theme" or something to tie this review together (other than the game), I decided to try to read as much as I could about Current Leaves, including Noah Bailey's review of Pastense for the Observer. In it, he makes several references to Gram Parsons' apparent influence on Current Leaves' sound, which was initially annoying because I had planned to write about the same thing. For some reason, the name Gram Parsons came to mind upon first hearing this record, and I figured it might be a pertinent comparison to make, even though I didn't think much about why. Luckily however, a few subsequent listens revealed that Pastense doesn't actually sound a whole hell of a lot like Parsons (at least his solo work) at all, and frankly I'm happy about that, because there are enough Parsons imitators in Texas to keep us all happy.

Current Leaves' music is certainly country influenced, but they aren't really a "country band" by any measure beyond their basic set of underlying influences. Sure, there is a good deal of lonesome highway heartache and even a few slide guitars present throughout many of their songs, but this aspect of their sound doesn't ever seem to take center stage or get in the way, as it often does with "alt country" groups that utilize their influences in an overly academic or tongue in cheek manner. Instead, Current Leaves' shimmering, 60's psyche influenced guitars (yeah yeah, I know, the Byrds) and Aaron White's confident yet fragile vocals immediately stand out and steal the show, pushing most comparisons and spot the influence games out the window. Yes, the twang is there, and those that like such things will truly enjoy the restrained and simple way in which Current Leaves present it. Those that don't really care for country, however, will likely not think too much about it once they dig into these songs a couple times, considering that they are primarily psychedelic pop tunes that merely nod in country music's general direction with a self awareness that lends them emotional depth instead of taking it away.

The album begins with two of its three strongest songs, as opener "13 Hours" sets the tone with lush, airy and bright guitar parts that float in a sea of reverb but stay bold enough carry the rhythm, while "Easy to Leave" establishes the band's ability to write instantly accessible and memorable pop songs without compromising one bit of the emotion that is found in some of their slower, less straight forward numbers. Really, "Easy to Leave" is pretty much an instant classic, with its chorus of "Its easy to leave/ but its hell to stay gone" assuring its presence in your head for days. It is the most straight forward country track on the album, but it is also the most effective because it touches on Americana without surrendering to its constraints.

Elsewhere, "Fought A Bear" recalls Pavement's "Father to a Sister of a Thought" with haunting echo slide guitars and thoughtful but controlled vocals, which reminds me: as a vocalist and lyricist, Aaron White is quite compelling if not exactly groundbreaking, with a range and tone that falls somewhere between Stephen Malkmus and Stephen Merrit, and a streak of lovesickness, regret and introspection that certainly leans more towards the latter. All of the qualities that make Current Leaves (and White) effective seem to come together almost perfectly in "Kill All Your Babies," which starts off as a dark, minimal and hollow sounding ballad but builds ever so subtly into a subdued but inspiring fortress of sad reverb and religious lyrics that instantly strikes a bittersweet chord as the album's emotional and musical center. Like many of the songs on Pastense, it is easy to listen to but never becomes boring because it isn't straight forward enough to immediately run its course.

Perhaps the most exciting thing about this record is that just about anyone can enjoy it, and since Current Leaves are starting to get a little more press these days, just about anyone might actually find this out for themselves. It is a great reminder that there are in fact local bands out there that are capable of making records that are enjoyable because they are accessible, but also because they are well crafted, exciting, and artistically sound. Country, psyche, sadness, memorable lyrics, Byrds comparisons, and music that is compelling without being all that innovative. Shit, I guess it kind of does sound like Gram Parsons. And I guess I kind of sound like Noah Bailey.



"Easy to Leave" MP3


(FYI, our rating system is based on a total of five possible stars)