I usually like to get this post to a nice round number, but I didn’t get it there this year. Here’s what my year sounded like, y’all! This post isn’t ranked; instead, it’s a playlist of sorts. My ranked post will come tomorrow.
Portland seems to be the new Seattle (except for this downer), so I was surprised when I heard Kris Orlowski & the Passenger String Quartet out of Seattle. Seattle is the new Portland, which was the new Seattle?
Scenes aside, Kris Orlowski has established a foundation for himself in the five-song At the Fremont Abbey EP. His voice is a slurry delight, somewhere between the low-pitched snark of Craig Finn (The Hold Steady) and the high-pitched emotionality of Scott Hutchison (Frightened Rabbit). He applies that voice to a batch of solid acoustic guitar-based songs augmented with strings; this particular group was recorded live at the titular space.
I more often feel that songwriters need to loosen up than get more serious, but Orlowski flips the script. He bookends his set standouts “Your Move” and “Jessi,” both weight, impassioned tunes that a man could make a career out of purveying. But in between there are various levels of frivolity, from charming (the inspired “Waltz at Petunia”) to out-of-character (the Mraz-esque pseudo-scatting of “Steady and Slow”). Orlowski attempts to save the latter with a good chorus, but it’s perky and weird. Orlowski does best when he sounds like a non-roaring Damien Rice or Joseph Arthur.
The string quartet makes a surprisingly limited stamp on the lesser tracks (especially “Postcard Man,” which sounds like a Parachutes reject). But they absolutely make the chorus of the beautiful, mournful “Jessi.” “Your Move” is given life by the strings, but it’s the mixed chorus that takes the song home and onto mixes.
Orlowski has shown a lot of variation throughout this EP, but there’s no defining feature. The strings are an integral part of his sound, but they aren’t the x factor. Orlowski needs to work on what his thing is: whether that’s melodies, tight lyrics, songwriting style (sparse/full), unique rhythms (all straightforward here) or whatever else. There’s a lot of raw potential in Orlowski, but he’s got to capture the best parts of “Jessi” and “Your Move” and make them work for him – or, the other songs, if that’s the way he’s gonna roll.
Either way, I’ll be watching Kris Orlowski as an up-and-comer.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.