Und dann macht dieser Kerl wirklich alles richtig:
die ersten drei Songs - `Laughter´- Hit!, `Marvin Gaye´- Hit!,
`Directions´- Hit!, dann das Tempo etwas reduziert, mit phantasievollen
Arrangements Punkte gemacht, dann mit `Hey Porcupine´ wieder eine
so bittersüße Hymne, dann Violine, Vibraphon, Steel Guitar, Posaune.
Hier stimmt wirklich alles, die Dramaturgie, das Sentiment, die überraschend
klischeefreien Melodieführungen, und mit bescheidenen 38 Minuten auch
noch die Gesamtlänge. Die schmalbrüstigen uptempo-Bläsersätze
von `Laughter´ erinnern an den Instant-Soul von Orange Juice, der
Spannungsbogen von `Marvin Gaye´ an die verehrten Vulgar Boatmen,
Josh Rouses Stimme mit ihrer schönen Mischung aus verhaltener Euphorie
und aufbegehrender Melancholie an Paul Westerberg resp. Die Replacements
zwischen `Please To Meet Me´ und `All Shook Down´.... Almost
perfect! (Spex)
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Josh Rouse's second album is titled Home, but don't expect it to
provide the security and comfort associated with the place we lay our
heads at night. Rather, Home is more about the unspoken longing for one
- a distant ache permanently lodged in the marrow of Rouse's hesitantly
upbeat roots-pop. Picking up where his 1999 collaboration with Lambchop's
Kurt Wagner left off, the record subtly embellishes Rouse's spare, doe-eyed
compositions with touches of brass, organ and strings. This instrumental
detailing - courtesy of a few Lambchop members, among others - lends Rouse's
wistful gazing a certain graceful sophistication, allowing his quiet yearning
as much confidence as anguish. "I think I got it all figured out/
I think I've got it made," the Nebraska native declares on the album's
hypnotic opener "Laughter," the song's mellow bounce echoing
his happy realization. However, on "Afraid To Fail," near the
record's end, the songwriter's creeping self-doubt has begun to dismantle
his earlier certitude: "Not that I don't want to/ I'm just afraid
to fail/ And I don't want to." It's this unpretentious, plainly stated
lyricism that makes Rouse's songcraft so warmly inviting, poignantly balancing
his fear and desire with hope and resolution.
(CMJ)
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While this follow-up to the excellent Dressed Up Like Nebraska doesn't
offer any revelations, it's another dreamy, tuneful effort. Adding more
colors to his palette, including horns and strings, Rouse seems intent
on beefing up his sound. But he doesn't exactly break out of his trademark
ethereal vibe, which causes the album to drag at times.
(by Tim Sheridan, All
Music Guide)
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