Moth Wranglers - Never Mind the Context
(Magnetic)
Listening to the Moth Wranglers makes me want to kill myself. Not in the literal sense, mind you. No, what it makes me want to do is to write "Morrissey" all over the cover of my spiral bound notebook, start wearing black eye makeup, and join the drama club--you know, all the signs of suicidal depression. Started as a side project duo uniting LD Beghtol (of Flare) and Chris Xefos (of King Missile) but somehow turning into a "We are the World"-style assemblage of musicians, the Moth Wranglers first album, Never Mind the Context, is a hodge podge of low key styles ranging from the sublime to the ridiculous.
The ridiculous is truly, painfully ridiculous, and it seems to come at the worst times in the album, either between great songs or at points where the album really should be building steam instead of letting it off. The album starts off with a chorale devoted to the gay single life. The song is really just a showcase for Beghtol's voice as Xefos is unable to really support it any substantial way, yet this is how they open the album, giving the listener a good two minutes to ponder if they really want to listen to the album. "Figure Ground" is an even bigger roadblock to music enjoyment, though, splitting the album in half with over 3 minutes of polka music. Go Tuba Go!
"Figure Ground" is truly horrible break in mood considering the previous song is the outstanding "Don't Look Now," a Spirit-esque soft, airy psychedelic song. It is followed by another noteworthy song, as well, probably the most marquee guest appearance on this album full of guest spots, a lead vocal contribution from Stephin Merritt on "Let Go/Let Me" (he appears on two other tracks in less obvious roles). Merritt's vocals on this song, however, totally push his baritone to its most baritone, losing its usual tenderness--a bit of a disappointment. In addition to Merritt, the CD includes appearances by members of Camper Van Beethoven, The Loud Family, Geraldine Fibbers, The Posies, and the other half of The Magnetic Fields, Claudia Gonson.
Other songs are equally as sublime as the hazy "Don't Look Now." "The Last Request of Mr. Ezra J-" sounds very much like one of Mark Robinson's odes to the Factory Records catalog. Built on only Beghtol's vocals and Xefos' piano, the song is simple but elegant. "Miss Fire" is a gentle country song built from guitar, cello, and male/female vocals seemingly inspired by the travels and travails in forming this bi-coastal band. It's all a metaphor, though, of course. There are more good songs than bad on this album, all creating a warm, mellow mood; it's just the bad songs seem to stick out more and ruin the flow.
Much like those drama club kids, my opinion on the Moth Wranglers is very unsure. Do I want to like them because of the things we both like? Or do I want to stay away from them because they look to be even bigger dorks than I am? It is hard to say. The album is uneven enough, though, that it's hard to give it a full recommendation. Beghtol shows much more in his full time project, Flare, and the guest appearances do little to increae the album's appeal.
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