Dave Matthews

Some Devil

(RCA)

You could almost feel sorry for Mr. Matthews—few artists face the same comparisons he does on Some Devil, his first solo outing. These he neatly sidesteps by opting for a sound that is clearly distinct from Dave Matthews Band (DMB), recruiting a horn section and employing some lush string arrangements. Throughout, the spotlight stays resolutely on Matthews’ voice, by turns growling and sweetly falsetto.

As skillful as they are, the assembled band cannot replicate the chemistry of Matthews’ regular gig, particularly the infectious energy injected by drummer Carter Beauford. Chief Phish Trey Anastasio and longtime collaborator Tim Reynolds provide some agile guitar licks, but at times bring Devil rather close to standard guitar rock. This is not all bad—“Save Me” sounds like it could have come off Anastasio’s solo album, only graced by Matthews’ infinitely superior vocals.

Those expecting to be blown away by the songwriting, though, may be disappointed. Matthews’ appealing—if somewhat somber—set of songs is more traditional than most of DMB’s output. He explores his emotional range on the single “Gravedigger”, but is hampered occasionally by an overwrought electric guitar. The acoustic version cuts deeper, setting Matthews’ voice alone amongst understated strings.

Devil does have some unexpected highlights. Thanks to the absence of a band, “An’ Another Thing” showcases Matthews’ emotive, eerie falsetto better than anything he’s done before. “Grey Blue Eyes” is elegant and Eastern-inflected, Matthews’ voice building in wordless, harmonic crescendo. Matthews the solo artist is diverting, but it will take stronger songwriting for him to justify branching out on his own. —Andrew R. Iliff

British Sea Power

The Decline of British Sea Power

(Rough Trade)

Their name first appeared a year ago alongside the Coral and the Music, mentioned in passing by the trigger-happy NME. No one’s known quite what to make of them—their debut album, The Decline of British Sea Power, is categorically schizophrenic, undefinable and certainly not a part of any marketable “new rock revolution” scene.

Ambient opener “Men Together Today” is a red herring before “Apologies to Insect Life” and “Favours in the Beetroot Fields” kick in, which are funky and melodic in the same way Mclusky manage to be, throwing themselves around like the Pixies at their most brutal. Yet again, the rest of the record sounds absolutely nothing like them.

As soon as the abrasive “Something Wicked” starts, British Sea Power sound like a different band entirely. The yelping, admittedly affected wildman vocal style introduced by frontman Yan on “Apologies” is replaced by a suave, silky voice that brings to mind Galaxie 500’s Dean Wareham in texture and Robert Smith in inflection. The instrumentation is lush, and the pace slow. The lyrics are ponderous, referencing international literature and history in the same breath as Ray Bradbury—probably pandering to their Ivy League fanbase.

Inconsistencies aside, the songs are catchy and filled with tension, with gorgeous arrangements reminiscent of Echo and the Bunnymen and The Smiths. Yet some go too long (like the fourteen-minute monstrosity “Lately”), meandering about without purpose or resolve. It’s a shame The Decline couldn’t be more cohesive, as it softens what could have been the unique and talented band’s powerful first impact. —Leon Neyfakh

Laika