EVERGREEN

Description

Beth Bombara’s album Evergreen began thousands of feet above sea level. Looking to get away and clear her head after a long tour, the American artist with rock & roll influences nestled herself in the Rockies, in an isolated cabin. The cabin’s name? Evergreen. She spent her time wandering amongst acres and acres of untouched forest around the cabin, on rugged rock faces that looked nothing like her native Michigan or her adopted home, St. Louis. Almost by accident, the songs for her sixth album started to take root. From the heartland rock of Tom Petty to the eccentric indie-folk band Aimee Mann, Evergreen draws inspiration from iconic sources. Despite everything, it’s the unique work of Beth Bombara, a singer-songwriter who, with over half a dozen albums, harks back to past traditions while seeking new horizons. Evergreen is her latest mark of success: an album that matches her art with the nuanced stride of her most powerful band to date. The first two tracks of the album ‘Evergreen’ set the mood for the whole record. The aforementioned whistling guitar riffs of “I Only Cry When I’m Alone” rise to meet Beth’s gravelly contralto, over knotty basslines and a frantic rhythm. The assured melody and instrumentation create a solid facade to camouflage a real feeling of self-doubt; “Feeling out of place, planning my escape, it’s not the truth that sets you free, a perfect smile is all you need.” Conversely, there is an urgency to (“Upside Down”/) “turn the situation around,” suggesting that the confidence crisis has eased; sharp chords, rhythmic bass, and a breathtaking rhythm reflect a love affair gone wrong. But the sweet chorus strives to overcome the difficult moments. “24 hours and we’re back, the same old story turns it upside down / Leave behind those: “could have been…”, and we’ll go somewhere else.” Caustic guitar riffs signal reconciliation after the breakup. A few songs take Beth and her band out of their comfort zone, reaching back to the 70s for what Tenacious D. calls inspirado. ‘Good News’ snaps, cracks, and bursts with a satisfying tightening of Southern Boogie. Going back even further, the title track calls up the ghost of Phil Spector. “Evergreen” is a bit of a girl group mix, blending a 60s pastiche with propulsive Jangle Pop music and notes of Country Rock. Electric and acoustic riffs echo over descending basslines, darting keys, and a slipping dotted rhythm. The lyrics draw strength from the resilient conifer, which is “always bending, never breaking.” Rubbery rhythm guitar mixes with supple lead riffs during the break, underscoring the song’s pliable feel. The most remarkable tracks here are ‘Does It Echo’ and ‘Criminal Tongue’. The former is a bit of a bluesy lament, reminiscent of Fleetwood Mac’s ‘Mystery To Me’ era. Brilliant guitar notes evoke the dark colors of the organ, gossamer bass, and a phased rhythm. This time, nature is used as a metaphor for a volcanic relationship. Beth’s versatile touring band includes her husband Kit on bass, backing vocals, percussion, and synthesizers, Samuel Gregg on electric guitar and backing vocals, and Mike Schurk on drums and percussion. Beth handles acoustic and electric guitars as well as lead vocals. With the addition of their friend John Calvin Abney on piano, organ, and harmonica, they head to the studio. After polishing these songs on the road, they had no trouble settling into a concert hall and releasing the album in less than a week. They even handled the production duties themselves. With Evergreen, Beth Bombara & Co. have added new colors to their sound palette without truly sacrificing their signature sound. Her voice echoes the bluesy grit of both Bonnies (Raitt and Bramlett), as well as folkier antecedents like Natalie Merchant and Aimee Mann. This album makes great efforts but manages to feel light.