A Clinic in Tunesmithing with Daniel Stampfel
Thursday night Daniel Stampfel played the album release show for his new ep at Fontana’s. The singer/guitarist looks the same as he did when he was packing the old Luna Lounge ten years ago, fronting the Inevitable Breakups, a fantastic powerpop outfit that should have been the band representing New York around the world instead of the Strokes or Interpol. Stampfel’s crowd hasn’t changed any more than he has: fellow musicians out to watch a talented colleague work his magic live, and wide-eyed twentysomething women (Stampel always pulls the chicks no matter where he goes). The band was tremendous, as usual: good tunesmiths never have a hard time finding musicians to play those tunes. The lead guitarist switched expertly from searing, sun-drenched slide lines, to rapidfire, pointillistic bluesy runs, to plenty of nimble Johnny Marr-style jangle and clang, while the drummer walked the line expertly between swing and anthemic and the bassist picked out a steady, often suspenseful new wave pulse (and took the most interesting solo of the night on the next-to-last song). Stampfel’s nonchalantly soaring vocals sometimes took a back seat to the roar of the band, but that didn’t matter: people were there for the hooks.
As usual, there were plenty of those. Stampfel works a catchy area between the Jayhawks at their most cosmopolitan, the Raspberries at their most melodic and Big Star at their most focused, with a more propulsive, rhythmic drive than any of those bands. While those are all old groups, what Stampfel is doing is putting his own stamp on an oldschool style, tuneful verses working their way up to irresistibly catchy resolutions when the choruses hit. He opened playing acoustic guitar on a jangly midtempo number that wouldn’t have been out of place in the Gary Louris songbook, following with a bouncy, 80s-influenced song that was the poppiest one of the night. The band picked up the pace with a biting riff-rock number, then a more laid-back soul-flavored tune with a gorgeous little hailstorm of tremolo-picking by the lead player. Hurricane Bells’ Steve Schiltz (who produced the record) then came up to add an extra layer of his characteristically thoughtful, spacious guitar on a lush, anthemic tune that reminded of the Church back when that band was writing the occasional pop song. They closed with an unexpectedly minor-key new wave tune (the one with that great bass solo) and then an exuberant one that might have been an Inevitable Breakups song.
That was the music. Lyrics don’t really figure into what Stampfel does: some of the songs could have been titled Oh Baby I Love Your Way or Just the Two of Us (they weren’t, but you get the picture). In order to take his stuff to the next level, i.e. Carl Newman/Steve Kilbey/Elvis Costello territory, he needs a lyricist: tunes as good as this guy’s deserve some substance. One can only imagine the greatness that would result from a collaboration with, say, a Paula Carino or Ward White.