The fact that Inditronic band Granddaddy became more or less a one-man show for Jason Lytle during the last few years of its existence must have been frustrating for the band’s guitarist, Jim Fairchild. Cast aside as simply a role player and having no input whatsoever on the bands direction, no doubt left Fairchild eager to branch out on his own. All Smiles serves as Fairchild’s vessel for said purpose, and debut LP- “Ten Readings and A Warning” proves that when left to his own devices, Fairchild is no chop liver.
Actually, Fairchild is not quite flying solo on TRAAW, which he recorded entirely on an eight track during a two-year period. He was able to recruit a veritable Indie all-star line up of drummers to assist, consisting of Janet Weiss (Sleater Kinney, Quasi), Joe Plummer (Modest Mouse, Black Heart Procession, Magic Magicians), Danny Seim (Lack Thereof, Menomena), and Solon Bixler (Great Northern). Brian Deck (Iron and Wine, Modest Mouse) mixed the finished product.
The sound that emerges from Fairchild’s brainchild is much less ‘tronic in nature and considerably more organic, in an amiably acoustic sense; an unassuming, lo-fi brand of California pop. It demonstrates pedigree to a James Taylor or Jackson Brown, but with a hipster, Echo Park twist, akin to an Elliot Smith, minus the precious voice. It is Fairchild’s, ahemm…. vulnerable (I’m being nice) vocals in fact, which will be the determining factor for most people’s enjoyment of this album. He has one of those “unique” voices that meanders in and out of tune, like an adolescents voice crack, very similar to Ben Kweller. Some will find this quality earnest and endearing, while others will simply be put off. Nonetheless, I give credit where it is due, Fairchild stretches his thin chords to painfully admirable heights, and the shakiness just adds to the low fidelity mindset of the album- One can feel the pain as Fairchild reaches for high octaves on “Backward, Forward, Through”. Let’s face it; the guy was never intended to be a lead singer.
Although a few tracks definitely elude a summertime charm, like the skip hopping “Summer Stay”-summer day don’t end too soon- You’re the light that’s giving me my strength, there is a darker undercurrent (or rip current perhaps) which flows underneath the strumming acoustic guitar and warm harmonies- take dim the “Pile of Burning Leaves” for example -not having a baby, all this celebration, why? Or the sparse insomnia driven-“Killing Sheep”
The instrumentation within TRAAW is what succeeds the most. The Death Cab For Cutie inspired “A Moth in The Cloud” is the densest song on this album, with its condensed guitar and quirky rhythm changes. The bathroom reverb drenched “Of Course It’s Not Up To Me” and its flimsy piano chords sounds like an enjoyable shoestring rendition of Neon Bible.
This modest little offering from Jim Fairchild has enjoyable moments, which deserve listening to. The coffee house sincerity and living room comfort will grow on those listeners who value genuine musicianship over glossy production. |