Mount Vernon NY resident Adam Pierce is well-connected in post-rock circles. He's previously played drums with Swirlies, Dylan Group, mum, David Grubbs and Philistines Jr, remixed Domenico (on David Byrne's Luakabop label) and collaborated with Gunnar Tynes, also from the ever-creative mum.
So, naturally, he's also able to call in a few favours when it's time for him to record his own outfit MICE PARADE'S fourth album "Bem-Vinda Vontade", which, surely enough, features telling contributions from respected folk such as drummer Doug Scharin (HiM, June of 44), Dylan Cristy (Dylan Group), Marc Wolf (Tower Recordings) as well as some notable vocal support from mum's Kristin Anna Valtysdottir and Ikuko Harada from Sony Japan's Clammbon.
But however important these characters are to the plot, it remains Pierce's ideas, desire to take risks and ability with music of depth and sophistication that is still the driving force and with "Bem-Vinda Vontade" (it's Portuguese and loosely translates as "Welcome, Will", fact fans) he's edging ever closer to plaintive, passionate pop of his own design. Yes, the complex rhythms and ambitious arrangements are still present and correct, but there are vocals on virtually every track, and as a rule noodling takes a backseat to focussed, cogent arrangement skills.
The excellent opening track "Warm Hand In Farmland" gives you some idea what to expect. It hangs on a chiming, indie-ish framework and is organic, warm and human with likeably lugubrious vocals supplied by Pierce himself. It's extremely enjoyable, and so is the ensuing "Nights Wave", which benefits from Kristin Anna Valtysdottir's breathily childlike vocals, and avalanche of fine drumming and pulse-racing guitars.
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The album's virtually constant musical staple is the use of descriptive nylon-strung Flamenco-style guitars, and these work to great effect on tracks like "The Days Before Fiction" and "Steady As She Goes", especially as these ensuing tracks are stylistically so different in design. The former also commandeers funky drums, marimbas and flightly jazz akin to sometime touring partners Stereolab, while "Steady As She Goes" (arguably your reviewer's favourite track here) has a warm-blooded, neo-Calexico slant about it and is unfailingly intense and passionate.
For me, the one track where the intelligent collision (collusion?) of styles falls down is "Passing and Galloping" where rippling, twinkling minimalism gives way to dense, grunge-y guitars and Pierce's forlorn vocals. It's alright at best, and too quixotic for this hack's taste overall. However, it's inclusion fails to detract too badly, not least when there's the Tortoise-ish intrigue of "Waterslide" and the return of Kristin Anna Valtysdottir on the atmospheric "The Boat Room" still in reserve.
"Bem-Vinda Vontade" never fails to engage. It's by some way the most accessible outing Pierce and co have turned in to date and, by rights, ought to help swell that all-important fanbase. It also demonstrates that pop and experimentalism don't have to be mutually exclusive and scared of being bedfellows. Good work all round, I'd say.
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