Initial Reactions (2012): Punch Brothers, Sharon Van Etten, The Big Sleep

Initial Reactions are just that: my reactions to records after only a few listens (usually 2 or 3). I try to be fair, but if a record doesn’t make much of an impression on me at that point, someone’s going to need to tell me to pay closer attention if they think it deserves better. (see the sidebar for rating descriptions)

Punch Brothers – Who’s Feeling Young Now? – (B): This is the first PB record that I’ve really engaged with, and it both satisfies and leaves something to be desired. On one level, their efforts to bridge bluegrass into an experimental realm are highly admirable. It might have been “Enter Sandman” on banjos, but PB let loose with a stunning and haunting opener in “Movement and Location” and their cover of Radiohead’s “Kid A” (!) nails it. I admire their aim, without a doubt. They’ve made a good record in Who’s Feeling Young Now? However, being very familiar with Thile’s work in Nickel Creek, I know he’s capable of writing not just good but exquisite and beautiful songs. Next time around, I hope he channels some of those old songwriting chops. It’s time to take the gloves off and give us a shiner. (“Movement and Location”, “Kid A”)

Sharon Van Etten – Tramp – (B): The first artist that comes to mind with SVE is PJ Harvey; though her music is approachable and occasionally grungy/poppy, it menaces as well. Still, while she’s certainly an impressive talent, and every track on Tramp is above average, they just don’t have the “sticky” factor, the ability to lodge themselves in your imagination. At this point, my main criticism would be that Van Etten projects rather than draws. She seems to want to stick it to you, but a little mystery might help us let down our guards against all the hype. “Leonard”, with its Eastern bloc underpinnings, comes closest, but at this point I fail to see what all the fuss is about.  (“Leonard”, “I’m Wrong”)

The Big Sleep – Nature Experiments – (C+): I heard “Ace” on a sampler, and that one drew me in, but after a few more listens, I think it must have been a flash of brilliance rather than a beacon in the night. They sport a very 90’s sound, reminiscent of the midwestern melodic emo bands of that era. However, they fail to distinguish themselves by going beyond it. With the standouts I detect great ideas little explored. “1001” hints at Boards of Canada, and “Wood on the Water” might have reached to something haunting and numinous. Unfortunately though, nothing more than an average indie rock record is realized. (“1001”, “Wood on the Water”)