Self Help Serenade
hit the U.K. in spring 2004, so it's been released domestically on a plush critical pillow, with bulbous sticker quotes bursting with words like "genius" and "classic." That's overstating it a little bit.
Evan Slamka
, the brains behind the band
Marjorie Fair
, has definitely written a pleasant collection of songs. They reflect the dusky light of his L.A. home, and his dream girl's figure is forever silhouetted against the sunset. But
Serenade
can't be marked a "classic" just because it taps classic
pop
elements (like
the Beach Boys
, for one; its album art even suggests
Endless Summer
), or because its contributors include crack session players
Jim Keltner
,
Joey Waronker
, and
Kim Bullard
, the piano and B3 of
Billy Preston
on the gentle
"Hold on to You,"
and the work of
Jon Brion
, who's credited with "various custom sounds." No,
's debut is just a pretty thing falling somewhere between
singer/songwriter
indulgence and clever
chamber pop
.
"Empty Room"
is an immediate standout. In lesser hands it'd be akin to
John Mayer
, but
Slamka
and his mates give it palpable depth and an unforgettable chorus. It's also the most upbeat thing here besides
"Waves,"
and it's not even that upbeat. That's because
prefers the slight twang in the waltzing
"Silver Gun,"
; he gives songs names like
"My Sun Is Setting Over Her Magic."
The snare drum in
"Halfway House"
is set to slow, and each piano chord resonates for a hundred years. It's an homage to sensitive '70s Northern California, but the contemporary era comes crashing in with a screeching solo of treated guitar. Same goes for
"How Can You Laugh."
It's beguiling like
"Surfer Girl,"
but looks to the legacy of
Pavement
at the same time. So
's debut isn't an immediate five-star classic. But its backgrounds are incredibly well-crafted (just look at that contributor list), and the songs' blend evening-sun comfort with a quiet forlornness that's somehow welcoming. ~ Johnny Loftus