Albums by this artist

Putting The Days To Bed (2006)

The Long Winters

Putting The Days To Bed

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» TROY CARPENTER | CO-DIRECTOR

The Long Winters Putting The Days To Bed Barsuk, 2006 RiYL: Big Star, R.E.M., clean Ween

Sometimes a band is all about a voice. Not neccesarily a voice in the general, creative sense, but an actual human voice that leaves its distinguishing mark on every bit of a body of work and begins to elicit trust and familiarity out of those who hear it repeatedly. You could say Spoon, Modest Mouse, hell, even R.E.M. might fit into that category, and you can add to that list John Roderick and the Long Winters.

Roderick’s singing style hinges on his overpronunciation of words (and non-words), and as such, he rarely trails off in mid-sentence, syllables reaching for the sky. More often, his vocals on Long Winters songs come off as conversations. Every word is enunciated with gusto, and the vocals can be very up-front in the mix, but when done right, they highlight instead of distract from the occasionally entrancing music beneath.

On the group’s third full-length, Putting The Days To Bed, Roderick’s songs are coming together better than ever, and though his voice is still confident and distinctively expressive, the music is getting busier and at the same time more clean-cut, resulting in a more cohesive listen than 2003’s wobbly, mezmerizing When I Pretend To Fall.

The Winters blast out of the gate with a trio of driving songs, “Fire Island, AK” proving particularly jubilant in its shaggy stomp and “Teaspoon” winding up propelled by triumphant horn crescendos.

But it’s some of the slower-paced items that are the most delectable of the bunch – the gently pulsating “Honest” is a plucky album centerpiece, a wistful tale of love and music fandom that hinges on its chorus’ admonition: “honest, it’s alright to be a singer / but don’t you love a singer, whatever you do.”

Soon after, “Clouds” goes a bit big-sky pastoral with pedal steel moans painting over a landscape of acoustic guitar picking. “Don’t try to write your name in the clouds from the ground,” Roderick suggests, but it doesn’t come off like he’s condescending with all this life advice – the songs are less anthemic than personal; the singer’s clearly addressing someone close.

“Rich Wife,” however, while also a personal lyrical note, certainly has an anthemic feel due to its ringing central riff, and would certainly enjoy a run on the “top five at five” afternoon hits countdown if I were to start my own radio station. It’s a hell of a lot more catchy bit of inspiration than we can find anywhere on the dial today.

And throughout, Roderick’s distinctive voice prevails, becoming the listener’s friend if it’s invited. He won’t win any medals for writing great melodic pop songs, but for some of us, having a handful of tunes like this in one’s headphones or on the car radio is just about all we need to take a summer afternoon over the top and bliss out. For that, John, I thank ye and look forward to more.

TROY CARPENTER | Troy Carpenter founded NATN from a Chicago apartment during the ambitious winter of 1998 with co-conspirators Ben French and Jonathan Cohen. After a five-year stint in New York, he and wife Lourdes have recently relocated to Indianapolis, where he spends days listening to music and nights in the kitchen at Elements restaurant. Musical heroes: Jimi Hendrix, Bob Marley, Super Furry Animals. What else makes life worth living: Sushi, Phucty, runs in the park, and the Atlanta Braves.