A Moody New Album and a National Tour by Brooding Rockers DeVotchKa
Long-running, carnivalesque rockers DeVotchKa have a brand new album, This Night Falls Forever streaming at Spotify and a national tour in the works. The next affordable show is on Sept 21 at around 9 PM at the Wonder Ballroom, 128 NE Russell St. in Portland, Oregon. As a bonus, Orkesta Mendoza, who careen between psychedelic cumbia, psycho mambo and eerie southwestern gothic, open at around 8. General admission is $25.
Driven by dancing, Tex-Mex flavored reverb guitar, the album’s opening track, Straight Shot sounds like the BoDeans covering the darker side of 60s Orbison, with a little faux-soukous thrown in. Let Me Sleep is DeVotchKa at their phantasmagorical best, a southwestern gothic bolero rippling with Tom Hagerman’s moody neoromantic piano and ominously swooshing strings.
With its winged arpeggios and galloping pulse, Lose You in the Crowd is a mashup of Nick Cave and Orbison noir. Love Letters, a waltz, rises through delicate pizzicato strings to artsy pop lushness: Nick Cave lite.
Empty Vessels, with frontguy Nick Urata’s languid Coldplay vocals and portrait of carefree richkid entitlement, sounds suspiciously sarcastic: “We’re just empty vessels waiting for words to fill,“ yeah right. Likewise, Done With Those Days has those same lingering, bombastic vocals over a purposeful baroque-tinged, noirish backdrop.
Shawn King’s clustering drums and Jeanie Schroeder’s suspenseful bass push My Little Despot along as the orchestration pulses at halfspeed, Urata intoning a moody banana republic gothic narrative. It’s one of the album’s two strongest tracks.
The other is the slowly waltzing art-rock ballad Break Up Song, awash in organ and simmering guitar: it could be Nicole Atkins at her most gothic, with a dude out in front of the band. With Angels, the band return to catchy, comfortable, smoke machine-infused stadium rock: spare verse, big anthemic chorus, moody major/minor changes. The album’s last track is a throwaway, more or less – Urata’s whistling gets annoying in seconds flat.
While the new album isn’t as dark or carnivalesque as the band’s earlier material, the tunes are catchy, the arrangements are majestic yet pristine and the band play them elegantly. Goes to show that stadium grandeur isn’t necessarily incompatible with smart tunesmithing.