Independent Clauses | n. —unusual words about underappreciated music

Alex Dezen plays you his excellent version of the radio

February 8, 2017

Learning how to write in a genre can be a lifelong exploration, even for the most talented of musicians: Josh Ritter has made a whole career exploring the nooks and crannies of modern folk. The Mountain Goats spent a whole decade mastering the lo-fi recording before spending another 15 years doing indie-pop in tons of different styles. As a result of the difficulty and time required to be an expert in one genre, skepticism is warranted when an artist leaves their home genre for another.

This is an even more risky proposition when the target isn’t one new genre, but a multi-genre, broadly “pop” album. Yet despite these many cards stacked against Alex Dezen‘s second solo outing II, the former Damnwells frontman has created a fascinating, incredibly enjoyable album that dabbles in half-a-dozen pop genres. It’s proof of Dezen’s songwriting prowess that he’s not just great in one genre: he’s great in a bunch of them.

Dezen doesn’t try to hide that’s he indulging in any flight of fancy that comes his way: The album opens with “When You Give Up,” a Miami Vice-esque noir new wave tune. Dezen’s lithe voice shines here; not only could he sing the phone book and make it sound great, he could sing it in a wide variety of genres, as well. His knack for catchy melodies is on display everywhere, from the vocal melodies to acoustic guitar riffs to blocky synth blasts. “Holding on to You (Holding on to Me)” has more ’80s rock vibes–this time more Heart than Blondie (“Barracuda,” in particular). As ever, the chorus hook is polished till it glows–you’ll be mumbling “holdingontoyou / holdingontoME” for a long while afterwards.

From there on, Dezen goes in full-on world tour mode. “Randolph Tonight” is CCR-esque swamp rock; “I Am a Racist” is a straight-up doo-wop tune; “New York to Paradise” is a lost Billy Joel piano ballad; “Fuck or Fight” is an Eagles-style country-rock rambler. None of these songs feel insincere or mishandled; Dezen waltzes his way through each of them with a deft hand. It’s even more to his credit that he played almost every instrument on this album. It’s one thing to write a melody in a different genre, and it’s another thing entirely to have the chops on multiple instruments to pull off a whole arrangement in another genre.

My favorite tunes here are ones that pair excellent arrangements with incisive, carefully wrought lyrics. The REM jangle of “I Had a Band” relates anecdotes from a coming-of-age tale with the emotionally charged punch line “I never had much of a father / but I had a band / yeah, I had a band.” Anyone who’s been in a band will relate to the loving, wry tone that runs through the lyrics, whether or not your relationship with your father was great. IC had the distinct honor of premiering the Graceland-inspired “Everything’s Great (Everything’s Terrible),” which has a thoughtful set of lyrics about people in the contemporary moment just trying to make it through. The acoustic closer “The Boys of Bummer” is a lovely song about people who write sad songs by a person who writes sad songs. The dignity with which the characters meander through the tune makes me think of The Hold Steady.

Because of the herculean effort Dezen expends on every track, the album is only 9 songs. Yet in those nine songs he creates his own personal version of the radio, putting his imprint on pop music. It’s a rare album that manages to pull off all that Dezen does here: this is a fully-realized album on “extra difficulty” mode. If you like pop music in any way, shape, or form, you need to hear this album. Highly recommended.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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