Five O'Clock People: Intelligent acoustic rock that's too good to be kept underground
Written: Jan 22 '03 (Updated Jan 12 '05)
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Product Rating:
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Pros: Melancholy, soul-searching lyrics, fully acoustic instrumentation with lots of fiddle, mandolin, etc.
Cons: Overall slow pace. That's it.
The Bottom Line: They're committed to only using acoustic instruments and writing deep, soul-searching lyrics. Great for fans of Caedmon's Call and Jars of Clay.
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| divad23's Full Review: The Nothing Venture - Five O' Clock People Movies |
Author's Note: This is a re-publish of an old review that I had placed in the "Up and Coming Rock Music" category. Thanks to our hard-working Category Managers, I can now place it where it belongs!
The Nothing Venture may be the best CD I've ever discovered by complete accident. Actually, I didn't discover it - a good friend of mine did while glancing through a music catalog from her record club. She saw Five O'Clock People listed in the "Christian Rock" section, noted that their style was being compared to that of Jars of Clay and Caedmon's Call, and incorrectly remembered me recommending the band to her. I must have recommended Five Iron Frenzy or someone far more well known with a similar name - I had never heard these guys before. She ordered the CD sight unseen, and within the first few listens, she was hooked, and she proceeded to get me hooked as well. No CCM hype, no radio singles, no nothing. Just a CD that spoke for itself.
Five O'Clock People has actually been putting out music for almost five years now. They started out doing the coffeehouse thing in their native area of Portland, Oregon, and their music is about what you'd expect from the sort of band you might find in such a small venue - acoustic, poetic, and intimate. But it was always more than just a few guys and their guitars. An array of acoustic instruments really makes this band stand out - fiddle, mandolin, harmonica, and upright bass come to mind immediately. This gives them a bit of a country flavoring at times, but it is not an overwhelming influence. They seem to get pegged for some reason as an alternative rock band - which is acceptable in the same way that Jars of Clay was once considered alternative - it doesn't sound like the typical pop/rock on the radio. But this isn't a grungefest full of fuzzy guitars and angst-ridden vocals, either. There is something quieter and yet still very powerful at work here - a sort of pensive undercurrent that magnifies the intensity of the music far more than any amplifier could. What's so surprising about this CD, their first full-length album, and their first set of recordings after being signed to Pamplin Records, is that it is definitely not overproduced. Having a bigger budget didn't make the band feel compelled to "go for broke" with an array of catchy sounds (though they are quite catchy in their own right). So while comparisons to the thoughtful folk/rock of bands like Jars of Clay and Caedmon's Call are not entirely out of line, they're also not entirely fair. As much as I love those bands, Five O'Clock People somehow strikes a deeper chord with me.
Lunar
I trudge and I slip as I reach out for daylight
But grasp only fistfuls of the night...
The CD starts off with some light metallic sounds (like someone is tapping on trashcans) and an acoustic guitar playing at a comfortable tempo. Drew Grow (one of the two primary vocalists in the band, and the author of this tune) begins to sing, contemplating the paradox of faith and why it seems to slip farther away the more we pursue it. Right from the beginning, this calm but desperate account of doubt and struggle will assure you that you haven't picked up the latest ultra-evangelical attempt to cram the entire Gospel into one CD. Five O'Clock People expresses a sort of faith that is a work in progress, which is much easier for me to relate to (and I suspect this would also be the case for many people who are not Christians, but having a hard time figuring out what they believe). Rather than leave a loose end of desperation, however, the song culminates in a simple prayer in which Drew is reminding himself to continue seeking and let God do the finding. The music follows this, seeming to trail off without resolving itself until a final chord ends things off with an assertive conclusion.
Sorry
And all these words will fail to bring you here
But you appear, and I beg for distraction...
This is known by many as Five O'Clock People's signature song. (Along with roughly half of the songs on this CD, the band had previously recorded it independently.) Here we get the first taste of some excellent fiddling by the multi-talented Patrick Tetreault, and vocals by Alex Walker. (The two of them had been with the band since its inception in 1995.) This is a gut-wrenching tune that considers a relationship which apparently fell apart, and the protagonist continually apologizes for throwing a monkey wrench into the former lover's life. The 3/4 tempo carries this song along beautifully as it builds in intensity and the lead singer questions his motives. The bridge gives way to an awesome solo from Pat and some intensely persistent drumming from percussionist Andy Uppendahl. Normally, a song about something so difficult would either end in pure anger and hatred, or a sloppy attempt to patch everything up with pat answers at the end. That is not the case here - the song slows to a stop as Alex sings "And I am resolved to love you with whatever means are mine", and the last note just leaves you hanging, as if to say, "To be continued". Fittingly, we get to delve more into these relational issues a little later.
Blame
I'll show you heaven in this town
You'll have to love more than you know...
Here we have the third ballad in a row (and yet the slower pace of it never seems to bother me!) This is actual a cover of another independent Christian band known as LSU, recorded in the early 90's. The instrumentation is fairly simple here, driven by some nice strumming on the acoustic guitars as Alex takes on the role of a comforter, someone who is promising a friend he will fight their battles and shield them from the blame for their mistakes. You can give it a spiritual interpretation of the song being from the point of view of Jesus if you like - I'm not sure of the original intent of the song, but it works well on so many levels. The sparse instrumentation works really well on this one because you can make out each element of the music, from the fantastic acoustic solo in the middle to Kris Doty's gentle thumping on her bass as the song draws to a close. This can't be said for most of the rock bands I like - one or two members usually tend to drown the others out.
So Far Gone
Precious does that grace appear
Now Frodo finds the strength to face his fear
And solo goes...
This is another haunting tune which stirs up memories of a past relationship. Pat's harmonica playing really adds a level of urgency to the music as Drew and Alex team up to weave a rather complex tale (including interesting references to mistletoe and Frodo from "The Lord of the Rings") of a struggle to let go of the past. Though the musical structure of this song dictates a definite verse and chorus, the lyrics never once repeat themselves, aside from the folksy "lai lai"s which tie the different sections of the song together. Once again, Kris' bass really shines through when the other instruments quiet down in the middle of the song, and the entire band treads carefully throughout the song, adding just the right amount of tension.
A short Interlude follows at the end of Track 4, possibly a fragment of a poem one of the band members had written. Its slightly dark and haunting musical mood fits in with the songs it is sandwiched between - "Sometimes the stories are sad at the end/And sometimes I think of you."
Glass
He seems to think it's a long way down
Lately it's not so bad when he's not around...
This one sneaks in quietly, slowing things down even more (admittedly this one can drag a bit for me depending on my mood). The song is entirely driven by acoustic guitars - no percussion or fancy instruments. The bass adds a dark, fuzzy texture in the background, and Alex's vocals are barely audible for the first few lines. You really have to turn this one up to appreciate its quiet nature. It appears to be yet another story about a broken relationship - but this time the band considers the power that two people have to hurt each other when they are close. It sounds to me like a boy is continually trying to please a girl, and no matter what he does, it's not good enough - she knows she can break him at any moment. That's just my interpretation. The inner beauty of many of these songs is that you can find a lot of personal meaning behind the lyrics and then someone else can come along and find a completely different (but equally viable) interpretation. The vocals do become more forceful toward the end of the song - Drew echoes Alex in certain places, and it's eerily close to some stuff I've heard from the two male lead singers of Caedmon's Call. Some more "lai lai lai"s are sung as the songs trails off into the quiet, dark place from which it came.
Now I Sing
Now I stop to kiss, now I look into yuor abyss
And we both climb the walls of pain and anger...
Track 6 brightens the musical mood again - this time Alex is playing an accordion, and Pat's accompaniment on the mandolin gives the song a slightly medieval feel. Also in 3/4 time (the band just loves writing in 3/4!), it appears to be a worshipful meditation on how difficult it is to let oneself be loved, due to all the pain and anger and things we hold against ourselves. The song doesn't cheerlead the listener with psycho-babble, though - Alex seems to simply stand in wonder at the fact that he is loved despite his failings, pondering his own imperfect ability to love. This song is a slightly shortened version of one of the tracks off of the band's very first CD, which is now an extremely rare find.
Remain
I come to you with my inhibitions, I come to you with things I want to believe
And the only thing I dare to offer you is the one you can't receive...
This song unexpectedly kicks the music into high gear, courtesy of some fiddling and guitar picking that would make the Dave Matthews Band and Burlap to Cashmere proud. The music is lighthearted, almost as if the band is having a hoedown, and it fits with the lyric, which appears to be a celebration of a God that will never leave us, who chooses to use our failings to make us grow. They do a great job here of taking on a much happier sound and yet not selling out to the simple, cheesy "You can do it" type of lyrics.
Same Old Line
Maybe you'll never know why I stare off into silence sometimes
Maybe you'll never see, maybe that's what scares me...
This song really caught my attention due to its subject matter - superficiality. Though they are definitely not the only band to comment on the way people put a face on to hide their problems, this one hit close to home because it specifically talks about using the phrase "I'm fine" as a cop-out to appease people who ask how we're doing. We use "How are you?" as a greeting without it really being a question, and "I'm fine" as an answer so that we don't have to take up any time answering that question. It's one of my biggest pet peeves when dealing with people. Anyhow, the mandolin and accordion once again give this song the feel of being in a medieval fantasy world, which I guess is quite fitting, given how we pretend we're living happily ever after because we're afraid people won't love the truly messed up, hurting person inside.
This Day
And these days collapse to find me faltering and lost behind
Each empty-handed word returned to echo in my mind...
Starting out with some nice bass licks from Ms. Doty, the album's other upbeat track expands into a slightly more traditional pop/rock tune (and I actually have heard this one on Christian radio once in a blue moon). It is probably one of the more straightforwardly "Christian" songs on the album, as it depicts a dull gray life being transformed by God. Still, no pat answers. The line "I'm forever falling down", which repeats toward the end of the song, seems to indicate that God is continually at work in our lives and salvation is not just a one-time waving of the proverbial magic wand.
Living Water
How lovely is Your dwelling place, O Lord God Almighty
My soul yearns, it even faints for the courts of the Lord...
This is another of the band's original songs from back in the day, given a little extra flavor here with Pat's fiddle playing. He takes the lead vocal on this song as well (which fits because he wrote it, though it's really an adaptation of a lyric King David wrote even farther back in the day!), and his voice alternates between the simple delivery of Cliff Young from Caedmon's Call and the soulful wail of Ashley Cleveland (!). It's a simple but gorgeous praise song, and the melancholy, down-home style of the music keeps it from being too sugary. (The middle section of the song where the drums kick in and Pat lets loose on the fiddle one last time is especially riveting!)
Fall Silent
And maybe this is the longest I've been so impermanent
A smile parading, sincere and unkind, stealing you blind...
The album's concluding track is actually slower and quieter than anything previously heard (in fact, it seems to be going nowhere until you pick up on its slow, shuffling rhythm). It's probably not a good one to listen to when you're driving and getting a little groggy at the wheel, but it sums things up nicely as it describes how God has enabled us to face our fears and live free of the demons that used to haunt us. It's almost as if Alex is thinking up each line before he sings it, due to the pauses in between and the contemplative nature of the music. The guitars have a slight twang to this one, almost as if they are slipping slightly out of key, which adds a strange mournful feeling, but the basic theme of the song is peace. As the instruments fade out, an ominous chord sneaks in from the background, building and building as if something huge is about to strike, and then fading away suddenly, leaving complete silence. A strange climax, but I guess it works.
Listen after the final track for a Postlude - it's the interlude you heard earlier with slightly different lyrics and lighter instrumentation, as if there was another quick thought that they forgot to stick in somewhere else.
The line "Sometimes I think of you" is the last thing you hear on the album, and by now I've overused the word "haunting", but I guess that it's the best way to describe this CD. It is deeply passionate and it will stick with you. For the careful and patient listener, these songs will come to mean a lot, and though I don't see them dominating the Christian radio waves (they seem more comfortable playing in front of small crowds anyway!), I definitely think these guys deserve more attention, both in the Christian rock and mainstream folk music scenes.
ALBUM WORTH:
Lunar $1.50
Sorry $2
Blame $1.50
So Far Gone / Interlude $2 / $1
Glass $1
Now I Sing $1.50
Remain $2
Same Old Line $1.50
This Day $1
Living Water $1.50
Fall Silent / Postlude $1 / $.50
TOTAL: $18
Band Members:
Alex Walker: Vocals, acoustic guitar, accordion, some percussion
Drew Grow: Vocals, acoustic guitar
Patrick Tetreault: Fiddle, mandolin, harmonica, other assorted instruments, vocals
Andy Uppendahl: Drums
Kris Doty: Upright Bass
Website: http://www.fiveoclockpeople.com
Recommended:
Yes
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divad23
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