Makes sense in theory, fails in execution
Trampled by Turtles is one of the archetypical modern bluegrass bands. They appear to be moving away from the genre as they’ve hired Jeff Tweedy from Wilco to produce something closer to alt-country or indie rock. The musical changes make sense with the lyrical topic: if only the writing was up to par and not overshadowed by Tweedy.
The ingredients have not changed with the layers of mandolin, banjo, fiddle and guitar. Instead of the rush typical of albums like Palomino, Alpenglow slows things down for a more contemplative mood. “Central Hillside Blues” features wet acoustic squeaks and the slow injection of mandolin for the album’s starkest atmosphere. At the same time, “It’s so Hard to Hold On” goes for a steady melody typical of an indie folk song rather than bluegrass. When the tempo picks up a little on ‘All the Good Times are Gone” and “Starting Over,” there’s no rawness in the production. The cellos and fiddles go for melancholy rather than soaring heights. Dave Simonett’s sober, gruff performance, with assistance from well-placed backing vocals, gets the job done even if he could be more dynamic. There are only a few to highlight in terms of individual musical moments. Still, there’s nothing disruptive to the coherency either. Tweedy has struggled with throwing in too many dissonant tones where they do not belong, so it’s gratifying that that does not happen here.
On paper, the musical changes perfectly match the lyrical sentiment. Alpenglow is the reddish reflection when the sun disappears below the horizon, typically appearing on snowy mountains. It’s a fitting title for an album about dealing with change, sudden endings and new beginnings. A quick scan of the song titles will find suitable titles such as, “Starting Over,” “We’re Alright” and “Quitting is Rough.” The reflective subject matter fits better with Alpenglow’s slower, contemplative musical malaise than previous albums’ fire.
While the record’s tone is consistent across the board, the character of the writing is erratic. The choruses are blunt usages of straightforward language, which is not a new phenomenon for the group. The hook of their most famous song, “Wait So Long,” consists of the title repeated 4 times. Still, the verses paint a picture of toxic codependency that paints neither half of the couple in a flattering light. Everything else needs to set up phrases like “Climb out, climb out” and “Out on the highway/ It all comes crashing down” to hit with more than the sum of their parts. Simonett can only do so much.
Sadly, the verses are awkwardly constructed. Commas are spliced to decimate any kind of scansion, resulting in bumpy rides like “Isotonic freezer, honey, can you feel me die?” on “Burlesque Desert Window” and “Cards that play now, let me stay now, I’ve been gone so far away” on “Starting Over.” The latter works better with a faster tempo where the commas punctuate a wind-swept rollick, but what’s actually being said is fragmented. There’s an overabundance of pronouns where it needs to be clarified what they are referring to, and more detailed storytelling is needed.
Some writers’ voices shine through even when fed through another artist’s style. Only one of the songs on Alpenglow, “A Lifetime to Find,” is written by Tweedy, and it is immediately apparent that this isn’t the same headspace from which the rest of the album spilled. It’s a kooky Socratic dialogue between a man at the end of his life and Death, written with an up-tempo cadence and quick turns of phrase. The dying man knows this day is always coming yet tries to bargain with Death, who responds with empathetic yet harsh truths about how “It takes a lifetime to find / The life like you had in mind.” It is the best song in terms of character and natural flow, yet it feels out of place because Tweedy’s authorial voice is so distinct from the band’s.
It’s a bad sign when the song not written by the band itself is the best here. Weak writing ultimately dooms an otherwise interesting pivot full of potential to mediocrity.
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