REVIEW: The Damnwells “Bad At Beautiful”

The Damnwells – Bad At Beautiful (Poor Man Records)

The constantly evolving lineup of this band – across their many trials and tribulations – might read like some sort of soap opera but, the fact remains, when Alex Dezen founded the band back in 2000, nobody might’ve guessed he’d still be at it 24 years later. Dezen is the constant with impressive vocals and stand-out songwriting – two of the band’s key strengths. Mining turf somewhere between alternative pop-rock, power-pop and, to some, alt-country, this still-Brooklyn-based band exhibit all the instrumental strength and earnest spirit to have molded together something entirely of their own making.

Driven by Dezen’s truly prodigious vocals and guitar, original members Ted Hudson on bass, David Chernis on guitar and lap steel and Steven Terry on drums, these fresh, eleven songs are all-original – penned by Dezen and fueled, if not entirely revitalized, by the enthusiasm and chemistry of the original band doing what they earnestly love to do. Big on robust melodies, steel-clad hooks and a full-band ability to harmonize like few before them, Bad At Beautiful is a stunning release. Toss in a cameo by Morgan Wade on “Easy, Tiger” and a guest appearance by Aaron Lee Tasjan on the title track and there’s clearly something happening here you need to know about.

Somewhere between the time when Dezen’s bandmates decided to cut out, back between ’05-’06, Dezen retired the original lineup of The Damnwells in ’08, continuing to record with new members or selected guests – choosing to skirt the label route in favour of alternative avenues of funding and distribution, with varying results. With the release of their self-titled album in ’15, the original members had rejoined the fold and it seemed like The Damnwells were back in fighting form, clearly rejuvenated and moving in a more tightly-defined direction.

Taking a page from such soft-textured, hook-driven rock of bands as Toad the Wet Sprocket and Del Amitri (stand-out guitar, hook-laden songcraft, dreamy vocalist/impeccable harmonies and driving rhythm), “Without A Heart” kicks things off with a take-no-prisoners chorus which bites down hard and refuses to let go, together with the musical prowess to demand your attention. The ultimate summer song!

The opening guitar lines introducing “Falling Out of Love” offer a similar follow-up but, for fans of this brand of alternative rock, The Damnwells deliver an iron-clad groove with a sturdy lock on a bulletproof melody – adorned by solid, cascading harmonies and enough ringing guitar and pulsating backbeat to blow any clouds away. The backup vocals of Amber Bollinger add punch to Dezen’s always-commanding lead.

His polished piano work, as well, intertwined with the subtle-yet-powerhouse guitar of David Chernis, shares the lead on the pleasing “What If I Talked.” Again, one starts to realize that it’s the actual voice of Dezen which is a hook unto itself. Smooth, satisfying, effortlessly seductive, he seems capable of embracing any lyric and adding an intriguing layer of ‘velveteen’ to each and every song he tackles.

Love songs don’t get much more buoyant than “Pretty As Pittsburgh” – equal parts strummed guitar and strong harmonies – with the net takeaway being that maybe Pittsburgh might be worthy of a second look, which is something. Again, these guys are all about their presentation of beefy, contagious choruses – and you have to fight the forcible urge to keep from singing along, not that there’s anything wrong with that. Cue the ingenious layering of mandolin and lap steel guitar into the mix (Chernis) for added depth.

When do these hooks quit?

Certainly not with the addition of “All For the Taking” to this ready-made playlist, its reliance on its distinctive use of sequenced guitar as its lead instrument, together with its muscular drumbeat, helps to push the track forward, distinguishing it from the others. Incorporating multiple time changes demonstrates the band’s ability to arrange sturdy compositions without getting stale.

Pushed hard as a lead track, “Easy, Tiger” features the addition of Morgan Wade to the formula, her country twang lending some edge to Dezen’s ever-smooth lead vocal. At the same time, she’s the weak spot in a potentially good idea as her overtly country tone feels contrary to what this band already does so well. A lead guitar break by Dezen wakes you up to the notion that more lead guitar – and roughed up a bit – might go a long way to broadening this band’s appeal. And who doesn’t fall in love with Dezen’s LOW register on the repeat of the lyric (don’t) ‘want’?

Contrast is a good thing but the soft touch of “It’s Not You” is somewhat scuttled by its darker feel. The chorus, per usual, elevates the moodiness of this song yet, despite the added depth gained by guest Ben Wysocki’s special effects, doesn’t quite cancel out this song being an odd fit, taking a little steam out of their momentum.

”One Way” is a true sleeper. The acoustic fingerstyle guitar – like sprinkling so much fairy dust – only embellishes the overall quality of Dezen’s consistently addictive timbre and, although the subject matter feels a tad gloomy, the addition of Chernis’ pedal steel guitar and the band’s luscious harmonies lift things skyward. What’s interesting is how this track may not stand out with the first few listens, but you’ll find it sticking to your brain like an unexpected, well-positioned lesion.

“Super Expensive Fear” hits harder than most, registering an Old School instrumentation which suggests a slight Beatle-esque feel. Dezen’s authoritative vocal and Chernis’ tougher guitar sound makes this a delightful slice of power pop with many moving parts – Stones-ish chording, pounding piano, ringing guitars, inventive percussion and plenty of vibrancy to keep things more than interesting.

The light-hearted “Shepherd of 12th Avenue” chugs along with a crisp beat and a subtle wall of guitars before eventually breaking into yet another of their specialties – a near-ethereal, fully rousing chorus, ripe with feel-good harmonies and sunny attitude. Again, Bollinger boosts the backup vocals a notch as Chernis’ guitar both animates as it occasionally dominates with his armoury of simpatico sounds.

If you’re going to go out on a ballad, make it as powerfully sophisticated a track as “Bad at Beautiful.” Deftly-rendered acoustic guitar and Dezen’s close-mic’ed vocal creates an atmosphere consisting bursting of vulnerability and intimacy. Aaron Lee Tasjan provides beefy harmonic flourishes, while uncredited keyboard effects help to weave a curiously-pleasing, dreamy spell.

Without question, this smart release is a sturdy proponent of the sort of music you don’t hear as often as you should. These tracks are beyond pleasing to being absolutely buoyant: lighter than air but hard-hitting in their design. And, once these eleven tracks cast their full spell and begin to take root, you’ll find yourself experiencing full-on goosebumps – the kind which accompany a truly joyous experience, reminding you of the true power of good music. These guys are all over it and they deserve to own a much wider audience – in honour of both their unbending dedication to the muse and for the payback they more than deserve for crafting such an elevated level of enriching, pleasurable aural bliss.

Find more information here: https://thedamnwells.net

https://www.facebook.com/thedamnwells