The Welcome Wagon

Welcome to the Welcome Wagon

(Asthamtic Kitty, 2008)

Made up primarily of Reverend Thomas Vito Aiuto and his wife Monique amongst various collaborators like Sufjan Stevens, The Welcome Wagon differs greatly from what might be expected from a short glance at the album cover.

All those initially expecting simple country and folk tinged songs of salvation are going to be surprised – not necessarily disappointed, but judging from the Reverends attire, a horn section was not to be presupposed. Even including those horn players, this slab is really just a solid indie outing with overt religious connotations.

First appearing on the Asthamtic Kitty compilation To Spirit Back the Mews in 2001, W.W. continued writing simplistic songs, mostly based upon its devotion, but tossing in a few covers sporadically. The music on Welcome to the Welcome Wagon can be considered folk based, but with a vastly expanded orchestration and a cache of musicians to assist the duo. Sufjan Stevens arranged a great deal of music to help W.W. perfectly express its bright and optimistic music.

Variety might be a bit lacking – a great many of the songs are in a similar tempo and utilize choirs to get the chorus across. That isn’t meant to disparage the album’s tact and push to remain cohesive, but when “Jesus” kicks into the chorus, the album moves from a pretty album, to an almost transcendental clutch of worship music. The Velvet Underground cover amidst an disc specifically designed to pay respect to G-d takes on a greater overall meaning.

Lou Reed and the Velvets were known for their associations and personal proclivities as much as their music. Alotta stories that get passed around about substance intake and the like is hyperbole to an extent, but the cultural import of the band is stuck to those rumors. The inclusion of “Jesus,” should remove doubt by you secular music fans about the quality and the intent of this disc. Music should make you feel something – good or bad, it’s there to provoke emotions. And this group of Brooklyn Presbyterians does that.

Tunng

Mother's Daughter & Other Songs

(Ace Fu Records, 2006)

The following comparison is most likely moot, considering the fact that the band I will reference is not generally well known in this country, and I have even been able to misplace the copy of their cd I once had.  Tunng sounds like a more electronically influenced version of Franklin Delano.  That being stated, both of these bands embrace old timey folk while coupling it with modern production techniques and textures.  The majority of the tracks on Mother's Daughter & Other Songs sound akin to each other, but I suppose that just means the band is making a cohesive musical statement.  Each track ostensibly is based upon a simple acoustic guitar melody and the vocals that accompany the music.  From that point on, the group creates the appropriate computer based beat, ambient or otherwise.  There are still violins and banjos on the album, but these traditional instruments are invariably augmented by a shuffling beat or music akin to something Prefuse 73 might create, but not utilize in the same manner.  Tunng creates and submits to the world a modern folk album with forward thinking production that does actually sound a little different from the thousands of other groups attempting this right now this very second.