For the past few years, the indie rock world has curiously settled its gaze on the alternative singer/songwriter group, Company of Thieves. Fans marvel at their somewhat revolutionary sound, which juxtaposes classic rock with a wry, Regina Spektor-ish, stereo-girl-type voice. Cynics predicted they would never move beyond the local coffee shop performance stage. The independently released Ordinary Riches was released in May 2007 as the band’s debut album and has since won them some national press recognition. The re-release of Ordinary Riches (Wind Up Records) provides us with an opportunity to look back and to judge whether or not their sound is a reflection of their success of late.
The first two tracks, “Old Letters” and “In Passing,” are a fun, bluesy opening to this album. Deadbolt, stop-action keyboard and grouchy guitar intersperse with Genevieve Schatz’s alternating soaring and wispy voice to create a sound that just isn’t satisfied with the garden-variety indie rock classification. These first two tracks set the foretold precedent of two seemingly contrary musical styles unexpectedly in sync with each other. Unfortunately, this acceptably entertaining combination does not last the whole album.
After its initially impressive opening, Ordinary Riches loses wind. The problem is not with the album itself — it is rooted in the band’s style. All the different elements of the music (guitar, drums and vocals) are suitable on their own, but Company of Thieves often sounds like a group of three soloists trying to perform together. Sure, they have their commendable lyrical, musical and synchronized moments within certain sections of certain songs. No song on this album, however, can be singled out as one good, cohesive piece of work. Company of Thieves’ style is directionless; they don’t have a specific manner or technique that they adhere to. This faulty construction causes the bottom to drop out of their music, and confusion and dissatisfaction on the part of the listener.
Schatz’s tumbling, sonorous voice as she belts, “We are all our own devil/ We all our own devil/ We make this world our hell,” in the chorus of “Oscar Wilde” gives the song the shine it needs to be labeled as the “feature track” of the album. The creative word riff jumps out at us and is just enough to surpass the rest of the song’s imperfections.
“Quiet on the Front” would be the perfect song for lazing around the house on a Sunday, if not for the sudden stopping and starting of harsh guitars. The effect is probably meant to mirror the unpredictability of real life, but the effect on a listener overall is unsettling.
“Even in the Dark” manages to maintain an even-tempered tone throughout, however, there is a fine line between calming and sleep-inducing, and this song crosses that line. The rest of the album follows in suit. Driving guitars and unexpected explosions of sound make several attempts at pumping energy into the remaining songs. The album thus remains on the boundary line between incoherent and boring.
If this album is an accurate depiction of the scope of Company of Thieves’ musical abilities, perhaps Schatz should consider recording a solo album. Ordinary Riches is just that — ordinary, and lacks the vivacity it needs to drive it out of the peripheries and into the main focus of the music world.
2 stars out of 5.
