The delicate trot of a somber cello begins the dirge-like title track. In this song, Wes Miles' indie boy falsetto is braided with a beautifully sparse violin and cello accompaniment. In Boy and Too Dramatic, the two following tracks, Wes' vocals are a smidge nasally, making the lyrics somewhat unintelligible. These are excusable flaws, however, as the words are not of very much consequence anyway. The immateriality of the lyrics is self-evident in the chorus of Too Dramatic: You're too dramatic / I don't understand it / Out of the static / You're too dramatic. However, with the spunky guitar riff of Boy and relatable subject matter of Too Dramatic, both are satisfying indie pop songs to the ears of undiscerning listeners.
As for Massachusetts, George Lang, Assistant Entertainment Editor of the Oklahoman, perfectly encapsulated it when he said: ". . . [it] sounded like a rejected Vampire Weekend track." Next is You and I. Alexandra Lawn's (cello) smoky yet clean vocals are a welcome respite from Wes' sometimes smudged renderings.
And, with a simple melody and muted organ playing, Keep It Quiet is a refreshingly gorgeous conclusion to The Orchard save for its percussive elements that, at times, overwhelm the delicateness of the song. Keep It Quiet (Bear) on their Boy EP, because of its simplicity, is more refined.
In The Orchard, an album of transition, Ra Ra Riot continues to create beauty of its chamber pop soundscapes but the band appears to be in lyrical limbo when compared to its previous LP, The Rhumb Line - and understandably so. Nonetheless, as the Ra Ra Riot continues on, what has been, its sharp rise in popularity, a lyrically cohesive album of consequence is without a doubt on the horizon.
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Published by Jen Verzosa
Jen Verzosa is a twenty-something Contributor for GreenShoelace.com and indieshuffle.com. She's also the SF Local Music Examiner for examiner.com. View profile
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