Woodpigeon : Die Stadt Muzikanten

<img src="http://www.qromag.com/wp-content/uploads/2010/04/woodpigeondiestadt.jpg" alt=" " /><i>Die Stadt Muzikanten </i>explores a heavier side of Woodpigeon, both in sound and subject matter. ...
8.2 Boompa
2010 

Woodpigeon : Die Stadt Muzikanten The title track of Woodpigeon’s brand new album is laced with a vintage alt-country feel.  Quiet pedal steel, soft player piano-esque keys, hints of brass, and most importantly, the gentle voice of Mark Hamilton start Die Stadt Muzikanten on a laid back note, before ramping into spectacularly melodic, highlight song, "Woodpigeon vs. Eagleowl".  This transition is symbolic of the difference between Woodpigeon’s last recording, Houndstooth Europa (QRO review),and Die Stadt Muzikanten: essentially, the move from restrained acoustic ballads to wonderfully atmospheric indie-folk.

This latest album explores a heavier side of Woodpigeon, both in sound and subject matter.  Die Stadt Muzikanten sees an increased role of electric and bass guitars, as well as percussion; meanwhile, Hamilton’s life experiences play a bigger part than ever in shaping material lyrically.  The band explores many different kinds of songs, with many different emotional tones.  What they all have in common is an exceptionally layered depth, and more often than not, a touchingly solemn nature.  From the playful sadness of "Redbeard" to a personal favorite in whopping seven-minute power ballad, "Such a Lucky Girl", Woodpigeon meets gravity with commendable accessibility.

One positive quality that managed to survived the transition from past to present is the dreamy back and forth vocals of Hamilton and Keena Burima.  The two contrast wonderfully on simple-yet-definitive ballad, "Our Love Is As Tall As The Calgary Tower", while also managing to harmonize perfectly on "Empty Hall Sing Along".  Conversely, the most important change of all is the move from restraint to lavishness, in terms of musical ambiance.  Die Stadt Muzikanten is at its best when such lavishness dares to meld with a dreamlike feel, while still knowing when to say when.  Though there is more than one time when a song drags on a hint too long, the bond between lavishness and dreaminess is virtually omnipresent on this album.

Die Stadt Muzikanten sees a folksy songwriter shrouded in a lush, Patrick Watson (QRO spotlight on)-esque atmosphere.  Thankfully, it’s become both easier and harder to see this in the bands latest installment.  More difficult amongst the intricacy and lushness of the music, and yet easier in the emotional environment that music creates.  Often heartbreaking, and always eloquent, Woodpigeon’s continued growth makes for an enjoyably poignant record.

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