The Moore Bros. are devotees of the pop genre, and I noted in my last review of them (here), that the more I listened, the more I was convinced they satirized the mode as much as they embraced it. Here, in their fifth full release, I'm not so sure of that after all. Either that or they decided to get more serious. The title cut is a strong indication of the latter proposition, mellow and gauzily dreamy, melancholy and sweetly reminiscent of younger more innocent days.
Then again, the bookending tracks are quirky and undecided, something the duo takes a pleasure in, though I fail to be convinced it's serving them well. There appear to be ties to the "weird folk" movement, which would explain a lot, but they don't attain to a, say, Davendra Banhart scale, too often choppy and disparate. This jars against the Simon & Garfunkel-ish vocal tone and delivery.
I'm imagining this sort of sound will go over with aficionados of such quizzical groups as Ween, Beck, and others,—n other words, people who like alt-everything, no matter what it is—though the Moores have a solider base. Like Tuffano & Giammerese, Voudoris & Kahne, and a number of 70s and 80s duos that failed to make their mark, I fear the Brothers will follow suit, though cuts like Pet Sidewinder tend to escape the obscurity path. If nothing else, though, I was greatly surprised, and happy, to find Bill Stout doing the CD's liner artwork, especially in his tongue-in-cheek tribute to the immortal Krazy Cat and Coconino County in a great inner sleeve cartoon. It has absolutely nothing to do with the music or the Moores, but who cares? Any Stout is good Stout!
Edited by: David N. Pyles
Copyright 2009, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.
Website design by David N. Pyles