It's intriguing to watch a
lo-fi
artist step out from behind their acoustic guitar and take the stage as a
big-band
leader. In the case of
Adrian Orange & Her Band
(note:
Adrian Orange
is a guy) it's an absolutely odd mismatch, like when
Dude of Life
made an album with
Phish
on
Crimes of the Mind
and the songs were strangled by off-kilter and anxious vocals, desperately seeking for suitable notes and blundering past time and time again. It's a bit like that, or listening to a prepubescent
David Byrne
in his very first vocal lesson. Some artists have been able to make a similar transition to a big setting comfortably, relying on their presence and charm to carry them through:
Ween
recorded
12 Golden Country Greats
with the virtuosic
Shit Creek Boys
and
Beck
upped the ante with a soulful horn section on
"Debra,"
but
Orange
's vocal style is still undeveloped enough that it relies on having that raw instrumentation as a backdrop, or else it clashes with its environment. The band, which features 17 members and an intricate horn section, has a loose, rootsy,
ska
feel reminiscent of
the Slackers
, and bridges the gap between moody, slow numbers like
"Fire Dream"
and upbeat, rhythmic jams like
"Window."
The music fits the song ideas well, but when a band is as technically polished as this one, if there is a weak link, they stick out like a hand model's broken pinky and
plays the role of that finger. It's too bad that the vocals are so distracting, because the lyrical content and music are conceptually strong and the album is a truly interesting experiment, but it just feels like a really odd mismatch -- as if
Bill Callahan
fronted
the Squirrel Nut Zippers
. It's admirable that someone so young in his career would try something as gutsy as this, but he has a lot of growing to do yet as a vocalist before he can pull off a move like this one. ~ Jason Lymangrover