White Whale
WWI (Merge)
By Salima Appiah-Kubi
Published: August 22nd, 2006 | 4:36pm
With intriguing lyrics, nautical themes, and melancholy narrative style, White Whale goes in search of new musical territory on their debut WWI. Ultimately, though, instead of discovery, the group winds up redrawing an old map.
From Lawrence, Kansas, most famous for the grisly death of the Holcomb family comes White Whale. Harvested from the remnants of Butterglory (Matt Suggs), the Get Up Kids (Robert Pope) and High Burning Fire (John Anderson, Zack Holland, and Dustin Kinsey), White Whale is ambitious if nothing else. In their press materials the band calls out the Decemberists and Arcade Fire. The comparisons are less obvious in the early tracks, which are most reminiscent of Neutral Milk Hotel. However, as they become more accurate these comparisons are less favorable.
The album’s early tracks (“Nine Good Fingers,” “O’William, O’Sarah”) are light character sketches. Both try to combine melody with elegant noise but neither quite makes it. “The Admiral” is where the band really hits its stride. The song is self-aware with intelligent lyrics moving between the story and its author. With the exception of “I Love Lovely Chinese Gal,” which is trite to the point of insulting, WWI maintains its continuity for the rest of the album.
WWI feels much bigger than its 50 minutes. Expansive even in its quietest moments White Whale wonderfully matches lyrics to music and then styles the vocal. Apparently favoring alliteration, the raspy “Forgive the Forgiven” is beautifully wistful and the Radiohead-tinged “Fidget and Fudge” are two of the album’s standout tracks.
White Whale’s maiden voyage may not have fully realized their ambition with this album, but they approach greatness often enough to keep afloat.
Issue #30
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