ARTiST: Boots and Hellmouth
ALBUM: The Holy Open Secret
BiTRATE: 190kbps avg
QUALiTY: EAC Secure Mode / LAME 3.97 Final / -V2 --vbr-new / 44.100Khz
LABEL: MAD Dragon
GENRE: Indie
SiZE: 51.35 megs
PLAYTiME: 0h 35min 54sec total
RiP DATE: 2009-05-30
STORE DATE: 2009-06-02
Track List:
--------
01. Rest of the Industry 2:41
02. You and All of Us 4:04
03. Watch Your Mouth 3:19
04. Three Penny Charm 3:56
05. Ne'er Do Well 4:21
06. What Good are Plowshares (if We 3:29
Use them Like Words)
07. Family Band 3:15
08. Dishpan Hands 3:36
09. Known for Possession 2:58
10. Roll, Brandywine, Roll 4:15
Release Notes:
--------
Who needs a drum kit? The Philadelphia rock/alt-country/gospel outfit Hoots and
Hellmouth generally eschew any percussion that canÆt be easily transported to
the front porch, choosing washboards, tambourines, spoons and footstomps over
the usual snare, bass and high hat, yet their sound is no less raucous or
irresistibly danceable for the substitution.
Their second album, The Holy Open Secret, is a worthy follow-up to their
barn-burning first record. Producer Bill Moriarty has become something of a
local Phil Spector, svengali-like in his ability to steer acclaimed homegrown
acts to the cusp of national attention. His records with groups like Man Man and
Dr. Dog elevated them from the house party and church basement circuit to
appearances on network television and reviews in Rolling Stone. In the process
heÆs developed an idiosyncratic Philadelphia indie rock sound, characterized by
constantly shifting instrumental textures, rich harmonies and dense arrangements
that somehow still sound chaotic and wild û complex houses of cards, always on
the verge of glorious collapse.
MoriartyÆs arrangements are a perfect fit for Hoots and HellmouthÆs odd
hodgepodge of influences. Despite the tossed off hootenanny atmosphere they
cultivate, their songcraft is extremely ambitious, almost schizophrenic in its
breadth and reach. ôWhat Good Are Plowshares if We Use Them Like Swordsö is a
hard, razor-edged Motown single, chugging along on a viciously simple and
ominous guitar riff, before segueing into the laughing Tom Waits kitchen sink
stomp of ôThe Family Band.ö ôYou and All of Usö is a wonderful mess: imprecise
harmonies, an impossibly catchy, almost rag-time guitar line, and drunken, woozy
hollering. The songs come at you from twelve directions at once, and your
defenses are useless. They win you over.
The album wrings a lot from the tension between the bandÆs two songwriters and
vocalists, Sean Hoots and Andrew "Hellmouth" Gray. HootsÆ songs are generally
the better ones. His melodies move in more unexpected directions -- the soulful
gospel vibe and bluegrass rhythms seem to be his contribution. In comparison,
the Hellmouth tracks -- mostly contemplative singer-songwriter ballads -- seem
very routine and predictable. Still, with Hoots throwing such a wide variety of
sounds into a blender and coldly snarling his way through oblique lyrics,
there's something warm and personal about Hellmouth's delivery, his broad chords
and dusty melodies, the creakily expansive, oaken timbre of his voice. Amidst
all of Hoots' tight arrangements, falsettos, bible quotes and whiplash key
changes, a well sung, simply stated lyric like "in this kitchen all I see are a
thousand dishes and me" isnÆt just prosaic -- it's intimate, familiar, true.
Gray doesn't possess even half of Hoots' impressive talent, but his well-worn
folk holds an important place on the record. Without it, Hoots' hyperactive
musical imagination and surplus of ideas might grow wearying, even unpleasant.
Hoots is the kite. Hellmouth is the string. The Holy Open Secret tugs you
skyward.