Amelia

It has become regular practice for many of today’s emergent musical acts to base their song craft around the loose paradigm that is commonly associated with folk music; the acoustic guitars, the heavy reliance upon a (one hopes at least) strong lyrical foundation, the assertion of authenticity expressed by the music. Unfortunately, with the vast number of these types of musicians attempting to create their own niche, the music enthusiast soon finds themselves trapped in a world of musical look-a-likes. Enter Amelia, the band not the girl. This trio from Portland, Oregon has recently released their third album, and while you may not have heard of this particular group they are well worth exploring. While they do tread a line that places them in dialogue with the indie-by-way-of-folk music genre, their sound continually finds nuances thanks to inventive songwriting, organically based musical arrangements, and a wistful element that is the byproduct of the lonesome and emotive vocals of Teisha Helgerson combined with the archaic sonic backdrop created by the instrumental cohesion of Scott Weddle and Jesse Emerson (formerly of Her Majesty-era Decemberists).

From the outset of this Long, Lovely List, the listener is made aware of the fact that this is not just another haphazard pairing of a singer/songwriter and musical friends. The music serves a purpose; it does not simply fill empty space, but rather, it develops the eclectic sentiments often expressed in the group’s songwriting. And I must stress that it is group songwriting in the case of Amelia, with each band member contributing at least two songs to the album. “Enemigo” begins the 14-track installment that is A Long, Lovely List of Repairs and from the outset of this song one realizes that Amelia are not interested in crafting superficial, overly-accessible popular songs. The track immediately demands the listeners attention with its gypsy-tinged guitar strumming paired with delicately placed strings and astutely positioned atmospheric insertions. This opening track is sung entirely in Spanish, and the introduction of this romance language serves to accentuate the altered sonic palate the band manipulates in their compositions.

The band then transitions into more familiar territory, dropping the Spanish vocals, and moving into the stark, yet subtly energetic Calexico influenced “Farewell.” Here, Helgerson plays upon the lonesome sonic qualities as she, “recall[s] the wasted years through eyes of tears”. With this track Amelia successfully alters the ballad form creating an intriguing combination of folk and Tex-Mex that becomes more emotive that either of the two genres are independently. From here the group moves in sublime cohesion as they delve into one of the most successful tracks of the album, “Tragedy”. This song does not take a misstep as the band deftly entwines layers of sound into an eclectic, engaging structure that at once recalls film noir and rainy nights. The upright bass provides a tangible foundation for the guitars and piano to use for their interplay, which creates an old timey sound with immediate agency.

Unfortunately, “After You” follows “Tragedy”, and while the song is not poorly played or constructed, it does not contain the same amount of creativity and personality that is present in most other offerings on this album. This fact combined with its placement on the album (following what is probably the strongest track of the album), indicates that perhaps “After You”, with its predictable structure and melody, could have been left off of the album. The following track “Try”, should have served the purpose of “After You” on its own, and the similarity of the two songs detracts from the overall superiority of “Try”. Fortunately, “After You” is the only real faux pas of this quirky album, and the band soon makes up for their misstep with two instrumental tracks that challenge the expressive capabilities of Calexico’s mariachi influenced music.

For the remainder of the album, Amelia navigates their own route trough the varied cultural components that comprise American identity. “Sugar Falls”, “The Great Escape”, and “Eyesore” all shine as uniquely accessible roots music offerings. Their sweeping ballads, gypsy digressions, and integration of organic sounds with solidly structured electronic loops, which are slightly veiled, contribute to the refreshing originality of their sound. “Here We Are” closes the album with its vaguely lullaby based sound, and the lilting clarinet combined with solid string arrangements and disembodied guitar effects reminds the listener that this is a truly unique band with more to offer than just another campfire sing-along.

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