As a music journalist of nearly eight years, it has become rather noticeably difficult to stumble across new “firsts.” There comes a point where everything to be seen has been witnessed and everything to be discovered has been found. At times music begins to just feel played out—the bucket lists slowly start to lean towards being more completed than unchecked and everything becomes rather redundant. Then just when I stop looking, someone throws a tuba into the mix and shifts my perspective of everything.
In this instance that band is Olassa.
With a Midwest, alt-country impression of Gogol Bordello a la The Moldy Peaches (yes kids, that is that band from the movie Juno), Olassa brings an updated thrift store charm and chemistry to the otherwise straightforward, blue-collar Lawrence/Kansas City music scene. Packing a pretty hefty collection of bass and catchy song-styling, the band’s male to female vocal structures allow them the ability to come out swinging and sock their audience in the teeth, with enough talent and ability to leave a listener enamored with a song. Quite honestly, Olassa is the type of band that is easy to become completely smitten with.
Upon first spin of the album I fell in love with five of the six cuts on I Love You, Come Back to Me. “Where Will I Live,” the album’s opening track, sets the stage for Olassa’s unique style. With tuba breakdowns providing the bass and accordions replacing the lead guitar (or organ) parts, the cut provides an interesting and intriguing lo-fi gypsy punk feel. The song also gives us our first glimpse at the blended co-ed vocals, before shifting into the fully female-fronted “Sloe Gin.” With a beautiful front porch guitar intro and a truly Americana vocal structure, the album’s second track strives to give Beth Orton and Emmylou Harris a run for their money (long-term). The song is secured in its deep, stable songwriting as it builds and progresses slowly and accurately. The track shuts down suddenly before reentering with a flawless accordion and cello combo, which closes out the number. Overall, the track does wonders in terms of setting the tone of where Olassa is headed in 2013. If “Sloe Gin” is an indication of their future to build upon, I expect nothing but an upward swell.
Unfortunately, “Sloe Gin,” the album’s strongest track, lands coupled with the somewhat disappointing “Vega.” Feeling a bit incomplete and unfinished, regardless of its obvious intentions of being this way, the song seems to lack the lyrical strength and structure of the whole of the album. However, Allison Olassa’s beautiful vocals remain intact as she uses gorgeous vibrato as the song swells around her. While the song itself is not a total waste, it is certainly the weakest cut on the otherwise flawless EP.
The final three songs on the album, “Little Darlin’,” “Ponder,” and “Pretty Flowers,” close out the impressive early-season release. “Pretty Flowers” slams the door on the release in a solid and impressive way, combining the glimpses of Americana noise with the rapid use of tuba and accordion filtered throughout the album. The song has a sunshiny feel to it with an elegance highlighted previously through “Sloe Gin.” With split vocals attacking each ear equally through the headphone of the listener, the song manages to surround you with its flawlessness.
The same can be said for the album as a whole. With the band dropping such a well-crafted album so early in the new year, the bar has clearly been set to a higher level in the area for local album of the year. I personally want to thank Olassa for throwing out such a challenge to their peers and fellow mates in the scene. I am wholeheartedly looking forward to watching each of them try to keep up.
SCORE: 9/10
Catch Olassa this Saturday, January 26 at Replay Lounge when it releases I Love You Come Back To Me
at a special release party. The band will be joined by The Calamity Cubes, KC Bear Fighters, and Alex Law.
--Joshua Hammond
| After stints drumming for both The Afternoons and Jenny Carr and the Waiting List in the Lawrence/Kansas City music scene, Joshua Hammond found his footing as a music journalist, launching the national publication Popwreckoning. After running the show as Editor in Chief for 6 years, Hammond stepped away from the reigns to freelance for other publications like Under The Gun Review and High Voltage Magazine. This shift allowed the adequate amount of time for him to write passionately, allow the Kansas City Royals to break his heart on a daily basis and spoon his cats just enough that they don't shred his vinyl. |
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