Chris Bathgate - Throatsleep
So i've been through this album about 6 times or so now and I figure it's time to put some thoughts down.
I was reading about his back story and it sounds like his first 3 records were pretty much done all by himself. Maybe a couple musicians but all self-financed. That includes this album.
I only bring that up because listening to this knowing that really shows how talented this guy is. Still, the first couple of listens I'll readily admit that I thought it sounded amateurish. Not amateurish in a recording aesthetic (thing GBV who forever were willfully lo-fi) but in that he WANTS it to sound incredible but he just doesn't have the producers or tools to make it so. I feel pretty accurate in that statement when I listened to clips from his last couple albums after he got signed. To me, they sound way more.....polished isn't the right word.....maybe professional? Like graduating from the 4 track to a studio. For instance, on "Buffalo Girl", the slide guitar sounds a little thin to me (albeit well done). Although, after a few listens it does become somewhat charming and fitting.
Still, those thoughts started to become secondary after listening to it a few times. I liked what AMG called this; "Middle American Gothic". It's VERY stark at times. I think the Will Oldham and Nick Drake comparisons are accurate but at times, the arrangements and lushness of some of these songs seems very Sufjan-esque as well. I have trouble thinking of when I would pull this out other than to have some sort of cathartic moment while reflecting on something.
That's not to say it isn't excellent for that very thing. "Buffalo Girl" is probably the most catchy thing on the first half and probably got him laid more than a few times. The most annoying song for me is "I Know How You're Going to Die Tonight". For whatever reason, I just couldn't get past the tin pan alley meets murder ballad vibe to it (although, it does sound very Avett Brothers-esque, who I like, figure that one out).
It's the 2nd half of this album where it think it really starts to shine. When he makes it really sparse, it shows off his voice (which you're right, is unique, if a bit too vibrato at times) but the songs really shine and the slight touches of instrumentation really come through. For example: ":A Problem In Dissonance Solved". It starts off with acoustic guitar only and you slowly hear the hushed strum of the other guitar, the cheap piano, and the backwards effect. It just shows how he can layer things.
I see your Nick Drake comparison on "Sun Moon". Just a great song. Maybe my favorite on the album... including WTF Zepplin-esque Battle of Evermore interlude there at the end.
The final two tunes just confirm that this guy had some heavy stuff on his mind when he made 'em. Can't quite figure out what he's lamenting on "Letter/Let Her" but it sure sounds sad.
I know I would have never heard this if we hadn't done this little exercise and I certainly wouldn't have given it the amount of time I did. That said, I can see why this guy has a following and I'm curious to hear what he's done with a bigger budget. Final verdict: a showcase of an immensely talented guy who made an interesting, stark record with limited resources. Pairs well with: wallowing a bit in the blues and a good liquor drink
Thanks Patrick.
