Being the lone Dick stationed here in Chicago, it’s only appropriate that I be the one to cover the latest album fronted by a duo that are both well revered veterans of the local scene. The primary masterminds behind Horse’s Ha, James Elkington and Janet Beveridge Bean, have been an integral part of the Chicago music scene long before they became the blog darlings that they are now. Elkington has been both a solo artist and the frontman of The Zincs, while Bean is a member of Chicago’s Eleventh Dream Day in addition to being one half of the country duo Freakwater. Despite the rumors that once circulated the internet that the duo was an undiscovered act that emerged from a cornfield to set the indie world on fire, the two actually got together way back in 2002 when they met at a concert and came up with the idea to form a jazz infused folk band and play covers. Eventually the project led them to begin writing and performing their own songs, which has culminated in their debut album The Cathmawr Yards, which was just released on Hidden Agenda this past Tuesday.
Though Elkington and Bean seem to get all of the accolades for the band, I think that it is important to give credit to the talented musicians that they perform with and are integral to the group’s signature sound. Fred Lonberg-Holm, a veteran of the improvisational jazz scene locally who has worked with Wilco in the past, contributes on cello, with Nick Macri on bass and Charles Rumback from Leaves holding down the beat on drums. The complete ensemble makes for an all-star caliber band supporting the vocal prowess of Bean and Elkington. And it is also worth noting that Elkington is no slouch on the guitar either, masterfully finger picking his way through the record’s ten outstanding tracks.
Given that this is predominantly a folk record, the overall tone is quite mellow and restrained. Getting more specific, however, this is certainly not your typical fundamental folk album. The jazz influence is undeniable, and at times even treads into Bossa Nova territory. The vocals are front and center throughout most of the ten tracks, with Elkington’s deep baritone mingling nicely with Bean’s sweeter, more angelic tone (on an semi-unrelated note, Elkington’s vocals remind me so much of The National’s Matt Berninger that I actually threw on Alligator immediately after my first listen). And though the vocals are a major strength of the record, both individually and on the many occasions that the two harmonize together, the musicianship is what truly ties everything together. The slick finger picking, hypnotic cello, and strong rhythm and percussion are truly the glue that holds everything together and allows those vocals to shine.
The Cathmawr Yards opens on a slow note with the weepy guitar and minimalism of “Plumb,” focusing on the contrast in the two singer’s tones. Launching into “Asleep In A Waterfall” brings a bit more pace to the equation with a haunting tune that showcases Lonberg-Holm’s enchanting cello. “Wilds Empty Bedroom” is a gloomy track that fits into a more traditional folk mold, bringing wispy snare drum beats into the equation and featuring solo verses from both Elkington and Bean. From there we come to one of my favorites from the first half of the record, “Left Hand,” which brings percussion to the forefront and features a stunningly beautiful horn solo about two minutes in. The first half of the album wraps up with an ominous instrumental track, “Liberation,” that is slightly thundering in comparison to the rest of the record thus far. While I typically shy away from wordless songs, this one actually provides a nice break from the vocal domination and helps to showcase the talent of the instrumentalists.
Kicking off the theoretical B-side, “The Piss Choir” is a plodding number ripe with percussion that shows a heavy dose of the band’s jazz influence. Following that is another more traditional folk track in “Heiress,” which, while good, isn’t particularly noteworthy. Next is “Tea Creek In The Dunes,” a perfectly positioned minimalist tune much like the album’s opener that features some heavy-handed finger picking courtesy of Elkington. I mention the great placement because given the album’s two final tracks it works perfectly to slow things down before closing with a bang, not unlike a great live show. “Rising Moon” is probably as poppy a song as would fit on this record, but with the Middle Eastern influenced maracas and exotic cello work it is right at home here. Closing things out, “Map Of Stars” is appropriately the loudest and most rock-like track to be found here. Boasting near frenetic string work and driving percussion, it features perhaps the only use of a truly noticeable hook to this point and kind of leaves you sitting there thinking “wow,” which is the way I think any really good record should leave you.
In my personal classification system of appropriate listening situations, The Cathmawr Yards files neatly into the ‘lazy Saturday/Sunday morning hangover’ section. With it’s mellow grooves it provides the soothing sounds required to ease my aching head with just enough up-tempo infusion to keep me from crawling back into bed. You’ll have to decide for yourself where the record fits into your own rotation, but wherever that may be it is worth a listen to find out.
