Customer Reviews

Below the Branches

5 star:		(3)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

Much has been written about how Stoltz's music is a blend of his influences. Many have seen this as an homage, a few detractors have said that Stoltz's music sounds great but lacks the depth of the artists he draw from. Let's think about this for a moment, here's an artist who has just released his third album, that he recorded largely on his own, and people are complaining that it does not compare with albums like LOADED or PET SOUNDS or ABBEY ROAD or THE VILLAGE GREEN PRESERVATION SOCIETY. Of course it does not compare to those albums. NOTHING compares to those albums!

I find this album to be incredibly moving, the happy-go-lucky lyrics sound like they come from a man who has been through the wringer and decided to say "f**k it, I'd rather be happy." The old-timey saloon piano of the song Prank Calls, sums it up just great: Life is going just great but there's always going to be the annoyances of and reminders of the rough times of days gone by, which come in the form of "prank calls" from "an old lover, who ain't gettin' none." the fact that the whole song has a throwaway feel, is all the more impactful. The same goes for The Rabbit Hugged the Hound, not so much an animal rights song nor is it an obvious anti-war song, hell it may be both, but Stoltz plays it off with just the right balance of pathos and wit that makes it feel like an interpretation of a 1950s Warner Brothers cartoon.

Then there's the beautfiul centerpieces of the album, Words which while definitely Velvet Underground influenced, has more heart and emotion than anything Lou Reed has ever conjured from that cold black heart of his and the absolutely gorgeous Summer's Easy Feeling which conjures exactly what the title implies.

Make no mistake, Stoltz may not be crafting albums on par with the best of the Beatles, Beach Boys, Velvet Underground or the Kinks just yet. But the fact that he's even being mentioned in the same breath as these iconic artists should tell you a lot where this guy could be heading.

For all of the talk of his influences, Stoltz is one of the most original, emotionally honest and clever voices out there right now. That fact seems to be getting lost in all the hype, but I suppose it is not easy to sell music these days and it makes sense that record companies have to boil things down to a couple of sentences for people to latch on to.

But do yourself a favor, pick this album up, listen to the man behind the sounds, he is there loud and clear and it is a beautiful sound indeed.

I really liked Antique Glow- it was so pretty and dreamy and gorgeous- but this new one is AMAZING. I just got it, but I'm totally overwhelmed by it. This record has so much in it, that I can't even figure it out yet- its got fantastic songs, shimmering/scary/beautiful sounds, crazy lyrics and just overall fascination. What I like best about it is how the songwriting on it is classic- like totally put together perfectly, scientifically, but the sounds on it, and the sudden breaks are just insane- its like a perfect fusion, like psychocandy or something (but it doesn't sound like psychocandy- its totally its own record.)

Kelley Stoltz' Below The Branches is a mini-masterpiece. It's easily his best recording to date. Each song is memorable and charming. Here we have Brian Wilson meets Syd Barrett meets Andy Partridge. The production is decidedly low-tech with piano, Mellotron and dry bass and dry drums. The Memory Collector, Wave Goodbye, The Rabbit Hugged The Hound and Prank Calls are all examples of genius.

This is not classical music and is more about feel than technical brilliance.

[DW]

I hate to be that curmudgeonly reviewer, but I have to say, this album simply isn't good. I have a rather eclectic and flexible taste in music, and I tend not to think worse of music that's far outside the genre borders of stuff I enjoy.

This is within those borders. It's not good. I got this album on advice that it was similar to other good sadcore singer/songwriters I love - Elliott Smith, Red House Painters, Nick Drake, Jose Gonzalez. It IS square in the middle of the 'indie' genre. It is NOT Elliott Smith or Nick Drake.

The songs are plodding and repetitive, the instrument playing is harsh, clumsy and unrefined, and for as broad a variety of vocalists that I think are great, or at least enjoyable, this fellow seems to have troulbe hitting the notes and even more trouble holding them. This is something akin to Ben Folds, minus skill on the piano, vocals... or, musical talent in general. The second track, "Little Lords", is the closest to enjoyable listening. Decent strumming on the guitar. Then it repeats, the vocals get a little wobbly, and it repeats, the vocals fly off the tracks, and finally, goes nowhere. The 1 star is just for the first 20 seconds or so of this track. And because zero stars isn't an option.

I see that other folks like this music so I'll finally assert that it's "not for everybody". But approach with caution. I think many folks who like awesome riffs, excellent vocals and great guitar will want to feed this CD to the dog.

The thrift store record bins have all been pillaged by San Francisco's indie set, looking to find the next big thing from days past to inspire their various bedroom music recording projects. Problem is, only the most obvious influences have been extracted. Kelley Stoltz is from the "post"-everything indie generation where music is treated more as an academic exercise rather than the adventurous and spontaneous affair which it is supposed to be. If only songwriting was the focus rather than sound, we would have more interesting music today, and all of those influential records would retain the innocence and dignity they deserve. Below the Branches, which seems to have been written to please the critics at Mojo magazine more than the listener who paid the 15 bucks for the CD, is the type of album you instantly feel that you are supposed to like. It has all the right sounds and influences, yet still lacks the depth you would find from its sources. But this isn't to say people won't like it--the indie crowd has largely been conditioned to listen to the "sound" of a tune rather than the actual song behind it, so it's a mutually beneficial exchange. For the rest of us who want to hear inspired songwriting rather than studio patchworks, I would recommend saving the cash and buying the real thing, if the bins aren't yet completely empty.