Chasman
05-23-2006, 08:52 AM
Nickel Creek banks on a harder sound
Band's folksy sound eddies toward moody, aggressive
By Robert Morast
rmorast@argusleader.com
published: 05/18/06
It's easy to listen to Nickel Creek's Why Should the Fire Die? and feel like the album's central theme is emotional repair.
Somebody More Like You plays like a good-bye letter to an unfortunate lover. Can't Complain is a confession from a cheating boyfriend. Best of Luck summarizes the realization that a high school romance won't last forever.
To wit, the music on the bluegrass group's 2005 disc on Sugar Hill Records is darker and more aggressive than the folky flavor of its past releases. The melodies are moody. The harmonies are often somber.
It provides an ominous overtone to a band that has been considered the perky future of America's folk music movement since the three members wowed the genre as teenagers a decade ago. The trio of Sean and Sara Watkins - siblings - and Chris Thile are now in their 20s. And considering Thile went through a divorce before the album, the assumption is that Why Should the Fire Die? is a response to the growing pains of life and human emotion.
It is very strange to think that we went into the album thinking we have a point to get across to our fans. It's definitely not what our mindset was, says Sean Watkins, the group's guitarist.
Speaking from his home in San Diego, Watkins sounds a bit annoyed with more questions about the album's perceived themes.
We were proud of a big group of songs, he says. We were happy to be with a new producer.
More so than life's forces, Watkins says working with producers Eric Valentine and Tony Berg affected the album's moods.
As opposed to previous albums that were produced by bluegrass queen Alison Krauss, this record had the band record as a whole, not separated by studio walls. Add Valentine's rock pedigree - he's worked with Smashmouth and Queens of the Stone Age - and Nickel Creek was recording in a very different environment than with past records.
And if there was any drama in the genesis of this record, Watkins says it came from selection of the project's producer. Before settling on Valentine and his accomplice Berg, Nickel Creek was trying to score dates with Rick Rubin, the bearded man behind Johnny Cash's resurrection, the Beastie Boys' ascent to greatness and the Dixie Chicks' upcoming record.
It's hard to work out schedules and stuff, Watkins says about Rubin's involvement. We met with him a couple times, and he made a few suggestions. He suggested we cowrite with Dan Wilson (from Semisonic) and Gary (Louris) from the Jayhawks. From that came 'Jealous of the Moon.'
On record, the changes are apparent. But on stage, Nickel Creek's presence shouldn't be too different. It still runs through hits from past records. The trio still covers Radiohead tunes - Watkins says to expect Just. And Nickel Creek still regularly plays outside its bus after the concert is over.
It's just fun, Watkins says. It's a cool way of connecting with the fans.
Band's folksy sound eddies toward moody, aggressive
By Robert Morast
rmorast@argusleader.com
published: 05/18/06
It's easy to listen to Nickel Creek's Why Should the Fire Die? and feel like the album's central theme is emotional repair.
Somebody More Like You plays like a good-bye letter to an unfortunate lover. Can't Complain is a confession from a cheating boyfriend. Best of Luck summarizes the realization that a high school romance won't last forever.
To wit, the music on the bluegrass group's 2005 disc on Sugar Hill Records is darker and more aggressive than the folky flavor of its past releases. The melodies are moody. The harmonies are often somber.
It provides an ominous overtone to a band that has been considered the perky future of America's folk music movement since the three members wowed the genre as teenagers a decade ago. The trio of Sean and Sara Watkins - siblings - and Chris Thile are now in their 20s. And considering Thile went through a divorce before the album, the assumption is that Why Should the Fire Die? is a response to the growing pains of life and human emotion.
It is very strange to think that we went into the album thinking we have a point to get across to our fans. It's definitely not what our mindset was, says Sean Watkins, the group's guitarist.
Speaking from his home in San Diego, Watkins sounds a bit annoyed with more questions about the album's perceived themes.
We were proud of a big group of songs, he says. We were happy to be with a new producer.
More so than life's forces, Watkins says working with producers Eric Valentine and Tony Berg affected the album's moods.
As opposed to previous albums that were produced by bluegrass queen Alison Krauss, this record had the band record as a whole, not separated by studio walls. Add Valentine's rock pedigree - he's worked with Smashmouth and Queens of the Stone Age - and Nickel Creek was recording in a very different environment than with past records.
And if there was any drama in the genesis of this record, Watkins says it came from selection of the project's producer. Before settling on Valentine and his accomplice Berg, Nickel Creek was trying to score dates with Rick Rubin, the bearded man behind Johnny Cash's resurrection, the Beastie Boys' ascent to greatness and the Dixie Chicks' upcoming record.
It's hard to work out schedules and stuff, Watkins says about Rubin's involvement. We met with him a couple times, and he made a few suggestions. He suggested we cowrite with Dan Wilson (from Semisonic) and Gary (Louris) from the Jayhawks. From that came 'Jealous of the Moon.'
On record, the changes are apparent. But on stage, Nickel Creek's presence shouldn't be too different. It still runs through hits from past records. The trio still covers Radiohead tunes - Watkins says to expect Just. And Nickel Creek still regularly plays outside its bus after the concert is over.
It's just fun, Watkins says. It's a cool way of connecting with the fans.