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Kristian Hoffman
&
(Eggbert)
eggbert.com
Hoffman is a
talented baroque pop veteran, who has not released nearly enough music. He
played in The Mumps, where his writing contributed to that band's
over-the-top sensibility (though the late Lance Loud had enough
over-the-topness for four or five bands). He fronted The Swingin'
Madisons, a band I'm still dying to hear. He has gone on to play with
other folks, most recently collaborating with Goth chanteuse Abby Travis,
and kicking out two solo albums in the ‘90s. Hoffman specializes in
delicate (but deceptively strong) melodies with dense witty observational
lyrics. Sometimes he sounds like he should be headlining the Holiday Inn
lounge in Braniacville.
The title of this disc alludes to its nature. Hoffman duets with an array
of talented folks who share his left-of-center take on music. Check these
names out: Van Dyke Parks, Paul (Pee Wee Herman) Reubens, Stew of The
Negro Problem, Rufus Wainwright, El Vez, Lydia Lunch, Maria McKee, Steve (Redd
Kross) McDonald, Ann Magnuson, Michael (Three O'Clock, The Jupiter Affect)
Quericio, Darian (Wondermints) Sahanaja, Abby Travis, Anna (that dog)
Waronker, Paul (The Fast) Zone and Russell Mael of Sparks. Speaking of
Sparks, which I do frequently, original Sparks guitarist Earle Mankey
produces.
This disc is both a special event and an incredible career summation –
while nothing rocks as much as Hoffman's Mumps days, he has tailored
material that is splendidly suited for his guests. The stylistic diversity
works so well because it is grounded in Hoffman's specific compositional
and lyrical sensibilities. Hoffman is at peak power throughout, and his
teammates are all up to the task.
The most striking track is "Scarecrow", a collaboration with
Wainwright (who Hoffman toured behind). It isn't that far off from
Wainwright's own material, but it cuts deeper – chords are sadder and
the lyrics go a bit further. This song is a brilliant metaphorical take on
the homophobic murder of Matthew Sheppard, filled with layers upon layers
of meaning, as it grapples with the aspects of the crime at different
levels, and the nature of man in general: "A rifle butt against the
head/because we'd heard it said/that only God can make a man/it's true/but
only man can make a scarecrow out of you/and only man can make a God that
will approve." I can't convey how Hoffman and Wainwright make this
verbose poetry fit the poignant music seamlessly, but they do. In fact,
Hoffman is right up there with artists like Joe Strummer, Paul Weller and
Ron Mael in his ability to make articulate but seemingly unwieldy lyrics
work in a pop-rock structure.
Two other songs grab the heart. "Tender Even Then" is an
acoustic track, with Maria McKee trying to salve Hoffman's wounding tongue
– he can't help but destroy his romance, while assuring his lover that
he can be tender. The melody has a slight Latin tint. Anna Waronker's
sensuous vocal contrasts the quavering Hoffman on the psychorchestral
"Get it Right This Time". She's the sunshine breaking through
his mental clouds.
Not everything is so heavy. The collaboration with Russell Mael, "Devil
May Care", is a fine bouncy pop number; Hoffman's "Palace of
Corn" has the right retro-pop feel for Wondermint Darian Sahanaja;
and "Series of You's" (with Paul Zone) is kinda dancey. Fans of
Hoffman's more baroque creations will have their due. Hoffman and Ann
Magnuson team up on the neo-musical "Sex in Heaven", with an
ultra memorable chorus for the best song ever about castrati. Abby Travis
gets to show off a more playful side on "God, if any, Only Knows".
And "Madison Avenue" is shaken-not-stirred spy lounge rock, with
El Vez showing that his cool voice is no novelty.
This is merely a summation, as every track is worthy of deeper analysis.
Over the past month, I have fallen in love with this record. This is
timeless pop from an artist who manages to share the spotlight even when
he most deserves to hog it by himself. A definite contender for album of
the year.
Michael
Bennett (find more reviews from Michael Bennett on www.fufkin.com)
June 2002
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