Barry (three dudes, not one guy) is a folk trio that ate an indie-rock band whole and had a comedian for dessert. Still, their songs are more firmly entrenched in the folk tradition than most new folk artists, in that I can see “Drink One More” being covered to the point that no one remembers who actually wrote it.
Even though “For Your Own Good” has harmonica, acoustic guitar and tom-heavy drumming, the vocals contribute the twitchy energy of a Titus Andronicus or Replacements song. The bowed stand-up bass of “Carnival(e)” contributes to the dark, pulsing Modest Mouse feel. The aforementioned “Drink One More” has a lot ripped from the indie-pop camp: melodies, background vocals, synths (yes, airy synths).
And that comedian’s streak? The title track is a a cappella foot-stomper about how they are tired from not sleeping enough. Not even kidding. It’s hilarious, in that they not only thought it was a good idea, they made it the title track. Rock that.
In fact, it’s the straight folk/country tunes that fare worst, as “Three Years in Carolina” and “Love Something Too Much” don’t match up to the engaging, entertaining amalgam of the other tunes. They aren’t bad, they’re just totally faceless. “Great Unknown” barely avoids this fate due to a nice set of lyrics and a dramatic vocal performance, but it’s still a bit too long at five minutes.
That’s an argument that can be levied at all of the songs, actually; most hang out around the five-minute mark, with only the 48-second title track as an outlier. “For Your Own Good” is close to four, and it’s a solid length.
Is it any surprise that the tracks that seem least serious are the winners, or that they’re the ones that incorporate the extra-folk-ular influences? That comedian’s streak runs deep, and it’s important to the success of Barry’s Yawnin’ in the Dawnin’. Here’s to hoping they keep bein’ chilled out incorporators of good influences into folk structures. Can we get these guys on tour with O’Death? Or maybe Avett Brothers? Thanks, justice.