
The Google blurb for the Girlyman website reads: "Imagine the Indigo Girls got together with Paul Simon and created Peter, Paul and Mary - only sexier." First of all, that sounds amazing. Second, it IS amazing.
I first heard of Girlyman from a choir friend from college. This germ of an introduction tucked in the back of my head, I came across "Postcards from Mexico" on my boyfriend's computer (he's not sure how it got there, but I think a sister was involved). I gave it a listening-to and found it fun and pleasant, but nothing special. Now I've been listening to Girlyman's first album, "Remember Who I Am," practically non-stop since I got it three days ago. What happened in the interim? Two words: quality speakers.
Girlyman describes its music as "harmony-driven gender pop." The key word is "harmony." On my boyfriend's tiny Macbook speakers, "Postcards from Mexico" is okay. Nate's kind of goofy voice takes center stage (don't get me wrong – I like the goofy voice. The Decemberists is one of my favorite bands, for crying out loud. Waistrels in the storm gutter, bluh guh mlarrr). But once I played it on some better speakers, I was blown away by the harmonization of the three band members. Just listen to "Viola" and hear how Nate's solo voice gives way to three-part harmony in the second stanza. Incredible.
And it only gets better. Not only is the harmonization perfect, but the chord progressions are sleek, masterful, beautiful. (This is especially evident with "Even If," where minor chords melt into major chords and back again without so much as a seam.) This makes some of the songs on "Remember Who I Am" among the most moving, poignant expressions of love and futility I've ever heard. The chord changes at the end of the chorus of "Say Goodbye" – "either way you've already made up your mind" – tears me apart every time. Same with "Amaze Me;" I don't think I've heard anything as beautiful as the "save me from Armageddon/high road to heaven" couplet in popular music in a very long time.
There is a particular quality of music that I'm very sensitive to; it's a bit difficult to explain, and I don't know the technical term for it (if there even is one – the people I've mentioned this to don't know what I'm talking about). It is, vaguely, how well the lyrics fit the music. Sometimes, the wrong word at the wrong time just sounds
awkward. But when the lyrics and the music mesh in some inexplicable way – which, as far as I can tell, involves rhyme, pronunciation, and meaning all rolled up in one – it's just about the most glorious thing in the world. (On another note, I feel that wordless music has to make up for this mysterious quality through complex vertical structure – sometime pretty much missing in all popular music). This album is full of such moments.
That's not to say that this album can do no wrong. "Fall Stories" has nice parts, but overall I don't really like it. Also I feel that some of the vocal styling sounds a little stilted – "Postcards from Mexico" is a relentless torrent, it flows. Not so for many of the other songs. "Maori" gets major points for rhyming "Aleutians," but the line about fish heads kind of kills it for me (there is a perfect example of a lack of that mystical quality mentioned above). I also kind of loathe "My Sweet Lord," which happens to be the only song on the album not written by at least one of the band members (it was written by one George Harrison, whom you may have heard of). Despite these hiccups, I can listen through the entire album without skipping anything and
enjoy it. That's saying a lot. When was the last time you could do that with an album? (Your "Magical Moments mit Mozart" album does not count.)
My favorite song on the album is probably "Hey Rose," followed by "Amaze Me," "Montpelier," "Say Goodbye," and "Postcards," not necessarily in that order. They're all lovely.
In conclusion: FÜNF/CINQ.
Awesomesauce.