Review: Sterling Witt - Shadows and Secrets
Results May Vary
Sterling Witt follows up his 2006 release Sea Things with Shadows and Secrets, a ten-song disc that includes a small army of players to bolster his manic folk-rock sound with some softer flourishes.
Witt's greatest asset is his voice, sounding uncannily like Kurt Cobain, but it's also a hindrance at times. The low, raspy vocal sounds immediately familiar and listenable. On this album, Shadows and Secrets maintains the basic platform that defines his core style – a driving '90s grunge-lite guitar sound that jerks into major tempo shifts like a beat-up Ford grinding gears.
Listen to "Desensitized" and "Broken Heart" by Sterling Witt.
For example, the lead track "Desensitized" establishes a decent groove, strummy at first, then picking up a Nirvana-like rockin' pace. The bass line bounces along. Drums smash away. It's all tight as Witt lets loose a string of lyrics in his idiosyncratic sing-speak style. Then, right after stressing the key phrase of the title, the guitar and drums pound into a minor psychedelic freakout that womps the listener over the head in case they missed the obvious lyrical point of the song.
"Unconditional Love" follows next. Impatience with the Witt's sing-speak rap starts to set in. It's monotonous. Also, his snippets of lyrics here don't really add up to a recognizable statement, an artistic gestalt. He plays around with the tonality and range of his voice, but the string of words and repetitious phrases just don't say much.
The addition of strings on the album – Quixotic's Shane Borth on fiddle, Evan Smalley on cello – plus Steve Phillips' mandolin give songs like "What Would You Say" a romantic, dreamy prettiness that softens Witt's hard-edged folk-rock sound. This third cut is simple lyrically, but it works as one of those heady anthem-like pop songs that seem Big and Important. Brent Hoad's piano licks add flair to the boisterous "Can't Get Away."
Witt goes into a soft shoe vocal routine with "Broken Heart" as he vamps along with swingin' strings. A female vocal – it's not specified whether it is Nicolette Paige or Katie Hurcomb Condori – chimes in and infuses the song with loads of charm. A touch of guitar toward the end gently underscores the tender-hearted duet. It's perhaps the catchiest number on the album.
Then, Witt completely guts a decent song by including another version of "Broken Heart" after the first rendition. Why? Pure speculation might point to indecisiveness, an unwillingness to let go of a favored alternate take. The problem is that version two sounds like the grinding, guitar-driven music and vocal style of other songs on the record. It cuts the legs away from the first version that began to demonstrate Witt's range and creativity.
"Your Not Around" [spelled as printed on the CD cover] is more subdued, quieter. The strings and delicate percussion establish a floor plan for Witt to begin building his case. Lyrically, Witt is literal and straightforward. It's like following a string from one empty room to another and discovering the exit to a vacated apartment. Three minutes into the song, the music rears up with ringing guitar and seems to signal the end of the song. Except there's a full minute left. That's the oddity of Witt's music, unusual arrangements, tempo shifts, and quirky composition that counters the expected in ways that often distract rather than enhance the result.
"Cellophane Girl" is a mid-tempo rocker that shuffles along politely. "Hypochondria" is filler material, utterly maddening with narrative lyrics that spend a lot of time expanding in detail what the title states succinctly.
The final track "Physical Therapy" is actually the most refined, moving composition on the record...which is a backhanded compliment in a way because it doesn't feature vocals or lyrics. Borrowing a page from Quixotic's soundscapes, this lush, pastoral song derives its graceful touch from the string and piano work. The genteel guitar doesn't overwhelm. The jazzy syncopation of Jeff McGuiness peppers the tune with the right amount of seasoning. This closer is a welcome addition even as it stands out as the odd duck among the rest of the guitar-heavy tracks.
Shadows and Secrets is a mixed bag. Results vary depending on what a newcomer or fan of Witt's music might anticipate. He was smart to add a cast of musicians to expand and embellish his basic sound. Artistically, he's trying on some new hats, but his style is still an acquired taste.
"Music" is proudly sponsored by MAAA and American Jazz Museum.
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