Ben Davis
The Hushed Patterns Of Relief
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Ben Davis
The Hushed Patterns Of Relief
Lovitt, 2001
RiYL: Elliott Smith, Milemarker, Bats & Mice, Sleepy Time Trio |
I am still mulling over that question as I listen to The Hushed Patterns Of Relief for probably the 20th time in the last week. Davis' album is a filled with intimate yet catchy pop songs and his eerie voice does sound a bit like Smith's. But unlike Smith's more recent major-label albums, which sound distinctly like plush studio products, the fleshed-outarrangements on Davis' album -- including pianos and organs and loads of guitars -- never sound overproduced or neat. There is a distinct pop grittiness, a raw element that draws the listener into some imagined living room where the crew of friends are laying down the songs.
The Hushed Patterns Of Relief was written while Davis abstained from touring with one of his bands, Milemarker, in order to be present for his first child's birth. The songs were written during the pregnancy and after teaching his friends the music, they added and tweaked them in live performances before recording. The album is filled with intimate songs filled with questions, doubt, confusion, and even a sense of defiant hope.
And it is the music, and not necessarily the lyrics that prove to be the most expressive. On "What Drifting Will Do," Davis' quiet, wispy voice battles with Matt Long's jangly, tonally imperfect but perfectly placed two-chord guitar line during the verses. Underneath it all, Nicole Gehweiler's sparse, simple piano line sporadically adds syncopated chords which round out the uneasy feeling of the entire song.
But , two songs later Davis responds defiantly with "Poised and Determined." The song is filled with light, alternating piano chords and a powerful one-chord guitar solo that is a fantastic reminder as to why guitars can sometimes express things that the human voice cannot. Through constant repetition, Davis' chorus of "go away / make me miss this somemore / go away / there's not room for more" becomes a mantra, its dark and bitter meaning beginning to fade away as the strength of his determination grows, until finally the song ends.
Between the peculiar harpsichord-like accompaniment and the way that Ben Davis' voice morphs into a warmer, less heroin-infused version of Layne Staley, "Misdirection" sounds like a lost Alice in Chains track a la 1995's "Heaven Beside You." Though, not a bad song, it certainly pales in comparison to some of the other tracks.
Overall, the songs on The Hushed Patterns Of Relief compactly lead the listener down a path of varying terrain, with jagged rocky guitar edges, rolling upright piano hills and watery rhodes piano work all combining to serve as the backdrop for Ben Davis' quiet vocal delivery.
A.K. GOLD | A.K. Gold lives in Washington, D.C., where she slaves away for a non-profit organization and constantly compares everything to New York City or Chicago. She's earned her "cred" as a college radio and pre-1960 country music DJ, committed indie label street teamer, sporadic zinemaker/contributor, retired mail-order filler and occasional freelance writer. From time to time, she publishes Anecdotal Evidence, a per zine that will some day be considered for the National Book Award, or possibly not. If you want to buy a copy, or desire to write to her for some other reason, email criticgirl@hotmail.com.