Haunting, Brilliantly Lyrical Noir Americana from Ben De La Cour
Crooner Ben De La Cour brings to mind Townes Van Zandt, and also a young Ward White. De La Cour shares a similarly cynical worldview and world-weary, rakish persona, and sings in an assured baritone that he would probably prefer was fueled by quality bourbon, although rotgut might do the job in a pinch. And as he makes clear from the git-go, he’s no stranger to being in a pinch. He tells a good yarn, is a hell of a lyricist and has a thing for windmills. Vocally, Nick Cave is the obvious comparison, but De La Cour doesn’t rip him off wholesale: where Cave looks to Ireland for inspiration, De La Cour goes to the dark side of Nashville – his adopted hometown – or the Mississippi gulf. His brilliant new album Midnight in Havana is streaming at his music page,
The opening track is Mobile Bay, awash in a lush bed of acoustic and electric guitars, with accordion and Meredith Krygowski’s violin adding subtle cajun tinges. De La Cour keeps his imagery close to his vest in this one: do those bells across the water imply that the doomed narrator’s ex is marrying some other guy, that there’s a hurricane on the way, or both?
The band builds from bassist Jimmy Sullivan and drummer Erin Nelson’s steady Nashville gothic shuffle to an afterdark Tex-Mex rock blaze – the BoDeans circa 1993, feeding the fire – with Evelyn:
Pain lay deep in every track as we crossed over the border
But only one of us came back and I was so much older
And if I had it all again I’d probably make a couple changes to the end, Evelyn
Anybody Like You puts a bluegrass spin on the opening tune, with a disarmingly charming Freewheeling-era Dylan lyrical feel. Hold On takes a hard turn into grimly surreal fire-and-brimstone blues: “It makes me sick to think of Charley Patton in his grave, if he rose up they’d put him right back down in there again,” De La Cour rails. Walkin Around with the Blues is a less successful detour into Allman Brothers redneck rock.
The Last Last Dance nicks a familiar REM riff for a booze-drenched, doomed hookup scenario: “They say pick your poison, for all I know you do,” De La Cour’s narrator explaining that “At the emotional soup kitchen, I’m down at the front of the line.”
With its snarling guitars from lead player Ryan Dishen, Ain’t Going Down That Road brings to mind the Bottle Rockets in a particularly dark moment:
I heard Mr. Williams say we’re all just sitting around a hole in the ground
Shutterbugs are just far-out weird while the rest are just hanging around…
Some folks gotta feel the heat before they ever see the light
But I ain’t going down that road tonight
Brandywine Bouquet shifts into slowly swaying Blonde on Blonde territory, while Windmills and Trees offers both droll environmentalist relevance as well as a little insight into everybody’s favorite power source. But De La Cour can’t resist bringing back the gloom with the viscerally uneasy Down to the Water’s Edge:
I can see that light in your eyes, is it love or is it fear
If I could tell one from the other maybe neither one of us would be here
The album closes with the offhandedly ominous title track, an allusive tale that sounds a lot more like Matt Keating – or a Russell Banks short story – than anything Cuban. Time after time, De La Cour takes a theme that others would only scratch the surface of, and plunges to its murkiest, terminally depressed depths. Get to know this guy – he has a ceiling as high as both Van Zandt and White, and will hopefully last a lot longer than the former.