Sixpence None the Richer

Item: Sixpence None the Richer
Author: Alex Klages

(1997)

Reviewed by Alex Klages

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Label Squint EntertainmentThe LighthouseUnsorted 1998

adult alternative alternative rock folk rock indie pop

After taking a couple years off, to finish school and to try to re-earn their artistic freedom, Sixpence has come back with an album which is, like their other albums, both lyrically honest and musically pleasing. Yet, within the first ten seconds of the first track, I was instantly aware that this wasn't the same as Sixpence's other albums.

The album begins with an over 15-minute trio of songs which blend seamlessly into each other. "We Have Forgotten" is a cry for hope in a situation of depression, very down-tempo from the "traditional" Sixpence opening track. Here we are introduced to the new aspect of Sixpence's sound - Matt Slocum's cello, which appears in almost every track; Slocum also plays all guitar parts on this album. J.J. Plasienco's bass groove returns, although only as a studio presence (as he left the band to join Plumb on his way to pursuing a solo career). Dale Baker's expressive, though understated drum style is back for this album. And, of course, Leigh (Bingham) Nash is the lead singer. With Steve Taylor at the production helm, several of his friends make guest appearances on this album, most notably John Mark Painter of Fleming and John, who almost becomes an honorary band member by virtue of his appearance in almost every song, playing a wide variety of traditional and non-traditional instruments.

The second song of the opening trilogy, "Anything," seems to detail the struggles which Sixpence has gone through in a somewhat comical manner, Slocum's lyrics beginning:

This is my forty-fifth depressing tune. They're looking for money as they clean my artistic womb. And when I give birth to the child I must take to flight. 'Cause the black in our pocket won't let us fight a proper fight.

While not exactly funny, the lyrics are rather ironic, in the sense that doing what he does best, Slocum finds himself trapped and stranded. Finally, "The Waiting Room" starts with a chord progression reminiscent of Fiona Apple's hit song "Criminal," although lyrically rather different from Apple's song! To my mind, it is perhaps one of the catchiest songs on the album (although integrated as it is into the songs preceding it, it probably has little chance of becoming a radio single). It demonstrates to good effect the string-arranging skills that Slocum learned in college as a music major.

Next we have one of those light-hearted love songs that nobody seems to write anymore, "Kiss Me." Although the characterization seems to get confused in one spot (where Nash sings "Bring your flowered hat"), the overall tone is lighthearted and positive, an element not often present in Sixpence's music up to this point - and, in my opinion, a fine addition. "Easy To Ignore," the only song penned by Nash on this album, is quite suitable for radio; steel guitar and violin add to a country feel of the song.

"Puedo Escribir" has a wonderful bass line to it, which drives the unorthodox tempo (11/8) forward in fine style. "I Can't Catch You" has a driving guitar lead-in - not a hard rock guitar, but one suitable for the overall tone of the album. As the song with the least amount of additional instrumentation, it has the most spontaneous, rock-like feel to it.

"The Lines Of My Earth" quickly became my favorite track on the disc. Mixed in such a way that it sounds like a broadcast from a smoky nightclub over an AM radio, it has a laidback groove that I found impossible to resist. "Sister, Mother" has perhaps the most interesting lyrics of the album, directed to the biblical image of Sister Wisdom (from Proverbs), a theme that also emerges in the first radio single, "Love." A short, poignant song, "I Won't Stay Long," written by Samuel Ashworth (the only song not written by the band), bridges the gap between the two songs to Sister Wisdom. The album closes with the appropriately named "Moving On," in which Nash sings "I will not let them ruin me again" as the song closes - a note of resolute determination reflecting a central theme to the album - that with God's help it is possible to get through the hard times and to enjoy life a little.

Stylistically, there is no doubt that this is a Sixpence album. Slocum's trademark guitar style is present throughout this album, especially on "Love" which sounds like it could have been on This Beautiful Mess. Not that that is a bad thing; it's just that the rest of the album seems to be moving in a different direction, less Cranberries-ish and more like 10,000 Maniacs, and perhaps even a little unique. It may win Sixpence some new fans that would not have appreciated their older material as much.

Overall, like every other Sixpence album thus far, this is a fine album, and one which stays fresh through repeated listening. It's hard to argue with this being the debut release for Squint Entertainment - if all their releases are this high quality, Steve Taylor and company should stay in business for a long time.