Let’s hear it for songwriters that never stop looking for that light at the end of the tunnel.
A few weeks ago Regina’s latest alt-country (for lack of a better term; seriously, we should be able to do better than that) troubadours, Nick Faye and his band The Deputies, released their new album. He’s currently on tour out east. I had hoped to have this review up earlier to publicize more of the concert dates, but life is hard sometimes, you guys.
Anyway, Faye has been around a while but his previous record The Last Best West went completely unnoticed by me for a couple of years. When I heard it in 2013 I was rather impressed; there aren’t a lot of people in our city that I’ve heard playing his style of hybridized rock and country. The eight-song album was impressive; decidedly sing-along material was heavy throughout, even if it occasionally left something to be desired lyrically.
A three-song acoustic EP followed last year, offering a dour counterpoint to the upbeat tracks on The Last Best West. “Rockets” and the magnificent “Pincher Creek” put Faye front and centre, his voice and acoustic guitar riding out the former while some gorgeous harmonies beef up the latter.
But that teaser release was a bit of a misdirect. Faye and the band have turned up the distortion and returned to the more rockist sound on Worry. To hear Faye explain it, it’s a conscious choice to off-set the weightiness of the lyrics. He told the Leader Post recently that the songs put together for this new release represent a largely-autobiographical tale of a bad period in which his anxiety and depression got the better of him.
Catchy title track “Sheryl Crow” is the catalyst. While it really has nothing to do with the famed singer (aside from a line referencing one of her biggest hits and a vague sound-alikeness in the guitars), it is a dynamic opening track, giving the full band a chance to establish their footing. The electric guitar isn’t a centrepiece for the most part, allowing the organ to drive a lot of the melody. Bassist Byron Chambers also features, showing off some dextrous runs.
“Muse” amplifies the album, literally; the guitars are all fuzzed-out here, even though there’s still plenty of room to breathe in the mix. When the horns fill that empty space in the center channels, however, it becomes clear the group is going all-out on their arrangements. The propulsive, driving arrangement eases off in the bridge, some plaintive violin underlining Faye’s yearning. “I want to be your muse,” he admits, almost matter-of-factly, “I want to be your health, I want to be your love.”
That sentiment leads into the drawn-out “Howlin’,” a song that pushes the six minute mark and is by far the longest on Worry. Here, Faye admits to succumbing to temptation, his falsetto assertion, “I’m howlin’ out at the moon/”I couldn’t get you out of my head,” coming across a little more delicate than it probably could. The musical accompaniment reinforces the notion that these tales of longing and depression are being tempered by purposefully aggressively melodic and upbeat arrangements: the extended bridge is patient, slowly ratcheting up the energy until two different vocal parts are layered into a powerful finish. The six minutes has passed before you even know it.
One of the album’s absolute highlights comes with “All The Way Around,” which crackles from start to finish. Faye’s singing is his strongest and most assured on this track, his performance wrapped snugly around a laid-back classic-pop tune. The keyboard and trumpet/sax parts are woven delicately into the mix, with Faye’s repetitious, strident acoustic guitar and the busy drumming of Adam Ennis providing a solid bedrock on which to build. The vaguely-throwback sound masks perhaps the darkest lyrics yet: “You always told me that the world was gonna end; well now I’m waiting for it, hoping for it. Your scent is lingering: it’s holed up in my room.”
The peak of the record hits with “Ode,” a lean three minute rocker with some fantastic lyrical imagery. It brings the varied dynamism of Rural Alberta Advantage quite starkly to mind, mostly in the rhythmically tight and circular drum patterns and Faye’s emotive chorus performance, which features ethereal backing vocals from Eden Rohatensky. Both are perfectly delivered, carried to a dark, foreboding denouement that sees the instruments diminish while Faye laments, “Our lives are oceans apart.”
The band pares things back for the closing track, “St. Victor,” which Faye described in an interview with the great Alex MacPherson in Verb Magazine as a sort of victory lap. A trip the group made to the miniscule Saskatchewan hamlet a ways south of Moose Jaw (known more for the stone carvings found in a nearby provincial park than anything else) was evidently the “last piece of the puzzle” for Faye, providing the final inspiration for the record and a sense of confidence and closure in the work that they had done. It’s the most country-ish song on the album, thanks to some note-perfect violin and pedal steel guitar. It’s also the closest thing to uplifting here, for the most part; Faye declares victory, assuring the partner he’s been chasing throughout the record that, “I’ll never let you let me down.”
“When we depart,” he adds, “we’ll watch the night skies, sleep under hillsides, and wake another day: a fresh new start, stripped of our burdens, free from the weight of love. We’ll find another way.” I can practically see the sun peeking over the horizon.
This record, brief though it may be, is extremely laudable for a number of reasons. Faye and The Deputies’ mature and captivating songwriting is chief among them, obviously, but even having the balls to write about a topic like mental health is a big move. Despite some massive efforts the last few years to try and normalize the dialogue around mental health, there is still a vastly huge chunk of people for whom any discussion about those kind of issues is verboten. Faye’s willingness to put himself out there is brave; having a crack band to back him up in the effort probably helps, but he should be applauded for his willingness to go under the microscope.
Get this album right now, goddamnit, from Nick Faye & The Deputies’ Bandcamp page or through good ol’ iTunes. You can also see the band on the eastern wing of their tour throughout this month, returning back in the prairies towards the end of July. I think a western tour is to follow, but I don’t have dates for that.
7/1 – St John’s, NL – The Levee w/ Len O’Neill
7/2 – St John’s, NL – Distortion w/ Sam Burke
7/4 – St John’s, NL – The Bull and Barrel
7/5 – Placentia, NL- The Three Sisters
7/8 – Stephensville, NL – Clancy’s Pub
7/9 – Corner Brook, NL – White Horse Lounge
7/11 – West River, NS – The Pitchfork (Barn Show)
7/15 – Montreal, QC – Neighbourhood on the Move
7/17 – Ottawa, ON – Lunenburg Pub & Grill
7/18 – Toronto, ON – The Dakota Tavern
7/19 – Guelph, ON – Cornerstone
7/23 – Winnipeg, MB – Sam’s Place
7/25 – Bengough, SK – Gateway Festival
7/26 – Bengough, SK – Gateway Festival