Most of the things I choose to review at Independent Clauses are good, even if I don’t explicitly say the words “good” or “excellent” in the review. I try to reserve the words of high praise for works that truly go above and beyond the bounds that a genre has set for an artist. Come On Pilgrim‘s self-titled record clears the folk/indie bar by a long way.
Come On Pilgrim! is the sort of album that I and many others have cultivated a taste for over the past ten years. The folk-inspired acoustic songwriting, interesting arrangements, passionate performances, thoughtful lyrics and memorable melodies all come together to make something more than the sum of its parts. The album is also more than the sum of its predecessors. While the loudest moments are a continuation of the anthemic bent that lead songwriter Josh Caress struck on his last solo release Perestroika, Come On Pilgrim! is the work of a whole cast of musicians who push the best aspects of Caress’ previous LPs to new heights.
“Regenerator” elegantly displays Caress’ progression as a songwriter. The song starts off with a droning organ, reminiscent of the drone that marks the beautiful Letting Go of a Dream. It grows through a long, flowing, emotive section (The Rockford Files) before exploding into a howling finale that excellently incorporates some of the darker indie rock that characterized the back half of Perestroika. The result is a distinctive sound that Josh Caress has been working towards for years: beautiful, relatable, passionate, haunting.
But it’s not all Caress; as previously noted, there’s a whole band here that makes the sound. The keyboards, pedal steel and violin permeate every tune as fundamental elements. An acoustic version of “The Ashes and the Springtime (That Wild Feeling)” could be an outtake from the sparse, finger-picked Goes on an Adventure, but it is enhanced from the get-go with atmospheric pedal steel contributions. Piano carries the chorus; the violin brings in the motif that I can’t escape from this album. Caress later doubles the motif with his voice, but not before female vocals introduce the haunting lyrics: “Don’t you want that wild feeling?”
“The True New Fire” knows the wild feeling. The song takes its time to build into a soaring, wordless vocal line over rumbling toms, unfolding during five minutes. The unhurried songwriting allows each of the instrumental contributions to breathe. The results are breathtaking, like a city dweller seeing the stars in Kansas at midnight for the first time.
While those songs are impressive, the “best” tag goes to the 7 minutes and 40 seconds of “The Secret Songs,” which shows off Caress’s lyrical and vocal abilities in an absolutely gorgeous song. It’s about “That night you came over with your dress torn/and I held you while you cried”; Caress has been telling stories of emotional distress since (at least) Letting Go, but in this one everything comes together perfectly. Caress’s voice creaks in places, but it does so with confidence; the lyrics and tone of his voice sync up to deliver a powerful performance. If finding your voice in writing means coming to grips with your talents and embracing them, Caress has found his lyrical and melodic voices here.
The eight songs of Come On Pilgrim! sprawl over 40+ minutes, making this a listening experience as opposed to a quick hit. The songs are carefully, lovingly arranged, and it shows in the final product. Come On Pilgrim! is easily a highlight of the year, even in a year when Mumford & Sons, The Avett Brothers and Grizzly Bear released albums. I keep coming back to it over and over because it exceeds my expectations for folk/indie in almost every way.