Bill Mallonee

Item: Perfumed Letter
Author: Jeffrey Overstreet

Perfumed Letter

(2003)

Reviewed by Jeffrey Overstreet

Discogs Bandcamp

Label Paste RecordsThe Phantom Tollbooth2003

americana britpop pop rock

When I asked Bill Mallonee about his motivation for taking such a drastic leap from one style guitar driven roots-rock to synth-based Britpop, he replied, "I like staying in motion. Most of the great artists are moving targets."

Now available from Paste Records, Perfumed Letter is the first official solo album for Mallonee, who turned out several albums as the front man for Vigilantes of Love. And he has clearly moved on to a new place, a new sound, a new vision. Whether it suits him or not... that's open for debate.

The album, produced by Mallonee, Tom Lewis, and Paul Wilkinson, is unmistakably Mallonee. The lyrics explore the wounds of relationship breakdown, guilt, regret, and near-despair, but just the fact that he is still openly appealing the Divine assures us that he has not lost a handle on hope.

It is good to hear him exploring different territory vocally. He sounds liberated, trying quieter modes, layering his voice into harmonies that at times echo the Beach Boys. It's an ambitious work, lyrically playful and complex, with one foot in Beatles-land and the other in Dylan country. His signature style of wordplay and doublespeak is all over this rather light affair. And he proves yet again that he can turn out hooks with the best of them.

I applaud Mallonee's desire to try new things, and there's nothing wrong with a venture into Britpop. (He started that direction on VoL's Summershine after all.) But something doesn't feel right. It's hard to put a finger on it, but for me the primary problem is Mallonee's voice. It's a great voice... for rock and roll, but not for pop. He sings with the rough edge of a southern country boy and the soul of a Jeff Tweedy, a Mike Scott, sometimes even Steve Earle. It doesn't quite work for this new music, at least for this listener. Moogs, Mellotrons, and Clavanovas may be a match for power pop bands. But these songs long for heavier guitars.

Perhaps he is bored with the roots rock he's known for. Lord knows he has worked hard at such stuff, pushing Vigilantes of Love records up a steep hill for several years, never quite breaking out onto the airwaves the way that critics and fans anticipated, never quite receiving the recognition he so clearly deserved.

Having said that, there are pleasant songs inside this untailored suit, and they may find more winning arrangements in upcoming live performances. "She's So Liquid" is a great song, in spite of what sounds like a half-hearted performance here. "Wintergreen" will become a fan favorite on the strengths of its lyrics alone, but here it is weakened by a guitar solo that sounds more like a rip-off of George Harrison than a tribute or a reference.

"Luminous" adopts the lyrical mode of U2's "Mysterious Ways," describing the consoling spirit as the muse or the beloved... perhaps even as Mary herself.

Made a visit to your garden
To come there and ask for pardon
My offense was very great,
my defense was second rate
She's luminous, ya dig?
Yeah she's so liquid

He speaks of a sense of mystery and grace "like angels in the trees looking on", this muse's kisses reminding him of "a wishing well." The song finds him singing with enthusiasm and Beatles-esque backing vocals, but with a gentler touch than usual. Unfortunately, the pulsing keyboards make "Luminous" sound like it's plodding when there's a blazing song busting to get out of there.

The swirling, retro-keyboard sounds that introduce the title cut are a sign of trouble ahead. Synthesizers are a dangerous thing. They can provide subtle accents, as they do for The Innocence Mission. They can introduce us to new sounds (Radiohead), or they can sound retro. On Perfumed Letter, the keyboards simply sound uninventive. They're not arresting or experimental as in a Radiohead song. They don't glow, percolate, and pop the way they do for XTC, U2, World Party, or R.E.M.'s recent forays into power pop. There is nothing remarkable about them, whereas the guitars for Vigilantes were energetic, even riveting. In short, they sound like they could be easily reproduced by any keyboard player who stepped up to the keys.

He strikes a better balance in a few numbers: "Life on Other Planets" finds a glowing keyboard/guitar mix similar to REM's "All the Way to Reno," becoming one of the album's strongest tracks. The lyrics stick, detailing the allure of false advertising and the yearning for a restoration of childlike faith:

3 tocks