Since the dissolution of ‘90s indie pop-rockers The Dambuilders, singer-instrumentalist-writer Dave Derby has focused upon a variety of projects, one being Gramercy Arms, a New York City-based outfit whose self-titled ’08 debut established a revolving member, indie all-star affair. Roughly six years has elapsed, and now Derby has coordinated a follow-up. The Seasons of Love features unfussy professionalism and a slightly broadened scope; while not a consciousness-altering record, it does go down smoothly enough, and fans of pop-rock song-craft should take note.
Though they released seven full-lengths across a near decade of existence, Boston via Honolulu’s The Dambuilders received their highest profile as a four-piece in the mid-‘90s. Part of the era’s indie deluge, the first three LPs came out through German imprint Cuacha! NYC’s SpinART issued the Tough Guy Problem 10-inch/CD EP in ’94 shortly prior to the group’s emergence on the roster of EastWest Records.
That Atlantic-subsidiary funded The Dambuilders’ best work, ‘94’s Encendedor and the next year’s Ruby Red. As was the case with many of their indie-to-major contemporaries, the band’s last statement, ‘97’s transitional Against the Stars, was a disappointment. Subsequent to breaking up in ‘98, guitarist Eric Masunaga went into film, opening a studio specializing in post-production, drummer Kevin March continued beating the skins, most prominently in one of Guided by Voices numerous lineups, and violinist/vocalist Joan Wasser embarked solo under the name Joan as Police Woman.
Bassist/lead singer Derby has kept himself quite occupied as well, initiating the side-project Brilliantine, hooking up with Lloyd Cole in the cult Brit’s post-Commotions ensemble the Negatives and completing two solo albums, ‘03’s solid Even Further Behind and ‘07’s borderline excellent Dave Derby and the Norfolk Downs. He commenced Gramercy Arms not long thereafter.
Derby’s foremost talent comes through the tried-and-true combo of writer-singer-instrumentalist, though by this point in his lengthy career he’s nearly as distinguished as a collaborator magnet. Fellow Cole alumnus and Wasser assistant Rainy Orteca serves as Gramercy Arms’ bassist, Sean Eden (ex-Luna) is Derby’s counterpart on guitar, and March fills the drum chair.
Also making significant contributions to The Seasons of Love is Wasser, Cole, ex-Throwing Muse and Belly leader Tanya Donelly, Death of Samantha’s Doug Gillard, Psychedelic Furs/Ryan Adams pianist Joe McGinty, Magnetic Fields’ cellist Claudia Gonson, vocalist Erin Moran (aka A Girl Called Eddy), and Letters to Cleo singer-guitarist Kay Hanley.
This covers less than half of the disc’s personnel; additionally, there’s a bevy of backing voices, added string players and a recurrent horn section. That The Seasons of Love survived an unusually elongated gestation period and avoided becoming a blur of cameos is tribute to Derby’s talent and focus. With that said, this is a record for enthusiasts of uninhibited pop-rock songwriting.
For instance, “Always in Love” opens the proceedings in an exuberant mode and with production fairly assessed as airwave-friendly, the whole somewhat reminiscent of a highly energetic Squeeze or even better Joe Jackson, particularly when the horns kick in, though it’s also similar to Ted Leo electing to ditch the punk trappings and go full-on pop.
Depending on one’s outlook, it’ll either be a fine morning motivator or a potentially broken clock radio. “Beautiful Disguise” slows the tempo as it shifts into a duet between Cole and an appealingly soulful Wasser. The result is a sturdy piece of cosmopolitan, grown-up pop; I can easily imagine both the tune and this album winning over devotees of Hall & Oates, Todd Rundgren, Steely Dan, Shuggie Otis, and Graham Parker.
The crisp and buoyant “Winter Light” strips things down and brings guitar to the fore courtesy of Gillard; the music’s boldly sunny disposition could be a turn-off for many (it’s very difficult to not envision young lovers embracing as it plays), though helping to deepen the track’s gist is smart, understated bits of sonic construction (such as the use of what sounds like xylophone) plus Derby’s delivery, here mildly comparable to Superchunk’s Mac McCaughan (specifically his solo work in Portastatic).
Still, “Winter Light” is indicative of the overall and occasionally detrimental lack of sand in The Season of Love’s gears. Elsewhere, in a manner that’s not unusual for indie songwriters, “The Night is Your Only Friend” displays the decided impact of Springsteen; like his cohorts in Bossiness Leo and McCaughan, Derby is more interested in phrasing and ambiance than in consciously replicating working-class Jersey swagger.
Initially, the inflection and aura is a tad too near the neighborhood of E Street, but as the guitar arrives things settle into an agreeable zone. And at this juncture the record’s traits are largely defined; like the opener, “Novemberlong” is piano-driven and jaunty, spiked with horns and a hint of pizzicato strings, and a la “Beautiful Disguise” it offers a duet, this time Derby and the husky-throated Moran.
“Playing with Fire” lessens the pace once more, here for a showcase of Derby’s vocals as he’s surrounded by assured guitar playing and a strongly-arranged string-section. His tone again rings (coincidentally) close to Leo, and though I’m not sure I would’ve made the connection without reading it in the press materials, a line of influence in the song can be drawn back to the early LPs of Scott Walker.
A nice turn of events, as is “Yours Untruly,” a tune co-written with Cole that turns up the volume and throws in a little of that aforementioned needed grit; string-burn blends with acoustic strum and the increased punch interacts well with harmonies that refuse to sacrifice the sunshine pop vibe. It’s a bit like handling some serious life-shit in a park during a cloudless July afternoon; heavy but bright, intense yet healthy.
The title track inhabits a lively mid-tempo, with the proceedings enhanced by a trumpet-led horn arrangement and shared vocals, the song reemphasizing those earlier adult-pop qualities, while “Say the Word” wields a pretty melody and chiming guitars as Derby smartly underplays the emotional terrain of his lyrics. The down-tempo “Thin” combines much of the disc’s attributes: piano, intertwined dual-gender singing, a mature sensibility, into a smoky late-night atmosphere that’s impressive and appropriate as a closing statement.
As it progresses, The Seasons of Love’s quality rises, its running-time leaving the ear satisfied, not undernourished or overstuffed. And Derby’s writing some of his best and most purely pop stuff; The Dambuilders always had a strong grip on the melodic, but for the majority of their years they operated as a dynamic rock unit.
Derby’s been honing skills over the last 15, and this album only underlines his status as pop auteur. I can’t deny that I miss the force and abrasion that helped to shape those ‘90s efforts, but if moderate in its power The Seasons of Love is no misfire.
GRADED ON A CURVE:
B
