The Arts and Sciences are solo artist Paul Melançon and his band, together at last.
Purveyors of literate and melodic indie pop music, the band calls Atlanta, GA, home and originated as Paul put together a band to tour in support of his acclaimed 2002 Daemon Records release Camera Obscura . Good players are all fine and well, of course, but the most important consideration when forming a band is “can we spend time in the van together?” This band is van-tested, from extensive touring along the east coast and two stints touring with the Indigo Girls. (Favorite road activities include getting a local dial-up number, visiting historic places, and checking out Shrimply Tuesday at Red Lobster).
In many ways, Hopeful Monsters is the antithesis of Camera Obscura. Where Camera took a year and a half to record, Hopeful Monsters was recorded over the course of two weeks at Rob Gal's (Josh Joplin Group) studio. The band recorded it virtually live, with only vocals and the occasional solo overdubbed later. The goal was to record something much more immediate and personal than the last record and the result is a sometimes painful and raw exposure of personal weaknesses. While it still shares the same core influences as Camera, the band and Hopeful Monsters have more in common with Elliott Smith and Death Cab for Cutie than Michael Penn and Elvis Costello. However, both still retain the trademark of Paul's unusually gifted voice, this time perfectly complemented by Erin Bradley Dangar's harmonies.
Unlike Paul's previous releases, the Arts and Sciences approached the arranging of Hopeful Monsters as a band, with an eye toward setting a mood. As such the new record takes Melançon's music in a logical progression - less power pop and toward a more relaxed, dynamic and melodic approach. For the first time, Paul spent half of the record at the keyboard. Guitarist Lee Cuthbert, formerly of Atlanta 's Gentle Readers, develops textures and rhythms and acts as guide on Hopeful Monsters through a group of songs that are frank and confessional. (She would like to add here, as she proofs the bio, that a plug should be given for Paul's first EP Slumberland, which led her to follow him slavishly, to kiss him on the mouth and confess her love for him - easily confused with love for his music - after one beer too many, and subsequently to her audition for his band. It's “the best.”)
What keeps this record from becoming too weighty is the Arts and Sciences rhythm section, adding the key ingredient to each song: "rock," as the kids say. Drummer Chris Pollette (also a member of Atlanta 's The Ether Family Presents) approaches each song with the mentality of a 60's drummer - where should the groove go, what is the best spot for the kick drum, and how can I stay out of the way. His feel is old-school and sort of bouncy. Erin Dangar (formerly of The Moto-Litas) plays a Rickenbacker bass and follows where he leads. Very simple playing and very swinging.
The band worked on Hopeful Monsters together, leading and testing and challenging each other, and the final result sounds like a group who knows each other and plays together with comfort and familiarity. Best of all, they know Paul, and Hopeful Monsters is a work which brings out the best in his songs. (Another member of the band would like to interject here that Melançon is in actuality very funny - an excellent joke teller and quite sarcastic - and he also enjoys the jokes of others. In many ways, he resembles a normal person. He just had a difficult year.)
Look for the Arts and Sciences on tour in the Spring of 2005 in support of Hopeful Monsters, in two flavors: minty-fresh solo acoustic and new cherry-flavored full-band electric. |
