John Vanderslice Cellar DoorBarsukJanuary 20, 2004
From the first brusque, feedback-laced strums of guitar, John Vanderslice has set himself apart from his singer-songwriter ilk. As the opener, "Pale Horse," begins to unfold, those first moments of lo-fi musicianship are cut strongly by the clear peal of Vanderslice's voice crooning in reflexive clauses, punctuated by a staccato trumpet accompaniment and a sharp drum beat. There is more effort here in the first 20 seconds than you might find throughout the new Howie Day CD.
But as developed or keen his production, and as effective as they become on the album, Vanderslice is still just a man with guitar, singing his heart out.
Though his arrangements seek to elevate him above your average songwriters, it is his gifted lyrical sense and heartfelt complexity which is the triumph here.
Although multifaceted, the album never sinks under its own ambitions. It is a production of pop, no doubt; you can whistle the songs just as easily as you can be stirred by them.
And as Vanderslice touches upon everything from Afghanistan to the Cold War, the San Francisco native introduces somewhat of a narrative, developing a cast of diverse, meaningful characters (Columbian mercenaries, aspiring actresses, horse whisperers).
Vanderslice's cinematic approach to his music helps fuse his poetry with his pop tendencies. Some tracks seem like running dialogue set against timely bells, quirky synthesizers and tribal percussion.
There's much at work in Cellar Door and what one derives is equal to one's introspection. But if you want to listen to John Mayer without the guilt involved, this album would be a good pick.
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