The tenth album in fifteen years from THE WILDERS showcases a more profound and deeply personal side to the Kansas based four piece. Famed for ferocious live shows that have seen critics gush “they play their wooden instruments like they’re trying to set ‘em on fire” and led to sold out runs at the Edinburgh Fringe Festival, their new self titled album appears to defy expectations at every turn.
Vocalist Ike Sheldon practically croons his way through the majority of the material here. He delivers a desperately authentic sigh throughout a cover of Patrick Frazier’s Pat’s 25, sounding childlike moments before his voice disappears in a fog of cigarette smoke. His performance on Get Up Kid might be even better. Sheldon fades away singing “It’s hard to tell you this but she won’t be back around”, almost unable to voice his fears as his friend lies face down on the floor. After skimming through a list of reviews that described The Wilders, amongst other things, as “absolutely mighty”, it’s startling to hear music so desolate.
However after these haunting moments it’s slightly disappointing to hear The Wilders slip back into traditional country mode so easily. With all four members owning song writing credits, the distinct personalities of the band often conflict with each other. Bass player Nate Gawron supplies the wistful heartbreak superbly. Sheldon’s provides proper hoe-down music that lies in direct opposition to his vocal performances. Mandolin player Phillip Wade offers the only real dud with the hillbilly stomp She Says, complete with the excruciatingly dumb chorus “I say that we’re lovers, she says we’re just friends”. And then there’s the three fiddle led instrumentals (make of these what you will).
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Although the up-tempo numbers would certainly work in a live setting, as it is Gawron’s delicate observations that undoubtedly leave the strongest impression, the album as a whole feels a little like a compromise, a missed opportunity that keeps returning to its roots when it has the chance to do something really interesting. I’m not saying that The Wilders should be reinventing the wheel, they are unquestionably exceptional within the traditional model, but when do we ever really need to hear songs about “a hundred sweet girls and surely some with curves”.
With their biggest ever UK tour going on as we speak, The Wilders obviously have to keep the fans that pay to see their fierce live act happy. Unfortunately the accompanying album often feels lost with what it is trying to achieve. That said it is worth investigating for the fifty percent of the time it really hits the mark. It all depends on how comfortably you can listen to a fiddle solo.
The Wilders on MySpace
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