Pitchfork

In the discussion of music, our beloved protestant work ethic often takes the form of a seemingly paradoxical double-standard. On the one hand, we expect music to demonstrate effort and skill beyond what we consider ourselves capable of-- hence snarky and devastating dismissals to the tune of "give me a few days and even I could make that album." At the same time, we have little tolerance for anything that seems forced-- "effortless" is tossed around as a compliment just as certainly as a lack of effort is cited as grounds for dismissal.

The amount of care and consideration John Vanderslice puts into the minutia of his records is beyond impressive. Over the course of three solo albums since the dissolution of his band MK Ultra, Vanderslice has proven himself to be not only a skilled songwriter, but one of the most unique, talented and thoughtful producers working in indie rock today. Vanderslice's "sloppy hi-fi" approach marries the grandiosity of Dave Fridmann's fuzzed-out, super-compressed sonic palate with the subtle charm and inventiveness of lo-fi techniques, and has resulted in some of the best-produced indie rock to see release in the last several years.

While this attention to sonic detail is one of Vanderslice's greatest strengths, it often seems to limit him as well. Vanderslice will sometimes pack a song full of so many masterful arrangements and subtle textural shifts that the songs themselves fail to be as riveting as they should be when viewed from a distance. Though every song he's recorded is host to a plethora of riveting and intriguing sounds, these sounds sometimes fail to come together when taken as a whole-- comfortable midtempo pacing gets a little too comfortable, melodies seem tacked on, and the song itself comes across as an afterthought to the brilliantly conceived production and orchestration.

For this, his fourth album, Vanderslice seems to have scaled down the bells and whistles that adorned his previous solo outings, placing a greater emphasis on his own unique delivery. As a singer, he's remarkable and distinctive, and on Cellar Door, he explores the range and impact of his voice to great effect. On "They Won't Let Me Run", Vanderslice abandons the restraint that often characterizes his singing and comes away with a poignant, pretty and memorable song that rivals his best. It's one of many songs on Cellar Door to explore the theme of families, and things that interfere with and complicate them. "When It Hits My Blood", another one of the album's standouts, begins with a confession, "I stole from my mother," before revealing that the aforementioned mother is, herself, a "pill fiend." The song benefits greatly from Vanderslice's production talents-- this man can do things with a piano and a drumset that would make Steve Albini blush. Ultimately, though, one wishes the song would build to something slightly greater than it does-- not because it renders the song any less enjoyable or affecting, but rather because it prevents it from the transcendent greatness it comes so close to achieving.

The more uptempo numbers are similarly promising. "Coming and Going on Easy Terms" is significant not only for its melodic excellence, but for its instrumentation as well, allowing each its own voice while paying great attention to their interplay. "Pale Horse", the album's leadoff track and original title, shows the influence of Vanderslice collaborator John Darnielle of Mountain Goats in its sound and approach alike, and proves one of the most engaging songs on Cellar Door.

The only objectionable thing about Cellar Door is that it is, yet again, not the earth-shattering album Vanderslice has been almost-making for the last four years. Fortunately, his love of sound and ideas alike comes through with much more clarity than on 2002's Life and Death of an American Four-Tracker, which would seem to indicate that he's gradually progressing to a peak where his defining artistic statement can finally be made. Indeed, the most promising thing of all about Cellar Door is that it contains moments in which the music sounds, well, effortless. Further honing his songcraft and embracing the unique characteristics of his voice, Vanderslice is beginning to write songs that are every bit as elegant as their arrangements. Over the years, John Vanderslice has always been more than eager to give credit to his friends, his collaborators, his influences, and even his equipment, but Cellar Door is another compelling piece of evidence that the main attraction is, and always has been, Vanderslice himself.