The first time I heard Eli August, I knew his music was something exceptional.  His voice and guitar faded in and out amid the boisterous background noise at the bar, and I was compelled to move closer to the stage.   There is definitely a case to be made for electronic amplification, but seeing a singer perform like the jongleurs of old strikes a strange chord of resonance.  I hurried to catch up with Eli after his performance, and we had a fascinating discussion of his music and musical trends in general.  Eli opined that if you can’t just stand up and sing a song with a guitar, then the song doesn’t stand on its own.   His music reflects this philosophy of musical austerity, yet it is no less complex for that.

“The Plea” A short violin solo by Chris Wagoner, is a perfect prelude.  Wagoner has the stark eeriness of Jay Unger on the soundtrack of the famous Ken Burns film “The Civil War”.   The next track, “The Train Derail”, is pure American Gothic in the classical sense.    This sonorous choral piece combines a feel of great tent revivals of the 1800’s with the Victorian cult of death, in a Rockwellian dream that is weirdly disquieting.

“An Abandoned Old Building” is a marvelous song that showcases Eli August’s uncanny ability to strike directly at the emotions of the listener with even the most oblique subjects.   Many bands are adept at storytelling. While outrageous tales may be entertaining,   connecting with the listener involves more than a mere good turn of the phrase.   Throughout this album, Eli August demonstrates his mastery of this skill repeatedly.  I have passed many an old house like the song describes, and wondered about the people who may have lived there in years long past.  I have envisioned shades of the former occupants wandering through the ruins, reflecting upon days long vanished.   With only a melodeon for accompaniment, Eli captures this feeling exactly.    The simplicity of the arrangement is delightfully deceiving.

“Second Story” is a first glimpse into the soul of the artist.   The intensity of the song is unexpectedly balanced by guitar that nearly, but not quite jumps into a Latin gallop.  Heartfelt vocals make the listener feel almost as if they are eavesdropping on a painful soliloquy of loss and should furtively steal away.  Bass and concertina are sparing, but effective, a technique that surfaces throughout the CD.  In the hands of a musician as talented as Eli, less is truly more.  “Laid Bare” is a deeply personal piece that cuts straight to the emotions like a scalpel, sparing nothing.   Unlike many such songs (remember those horrid “power ballads of the ‘80s?), Eli is utterly convincing.  This is no mere poetic exercise (methinks).  Guitar and voice prove as compelling as the proverbial Wall of Sound.  The ending is as sudden as a razor sharp stiletto pulled from an unexpected sleeve.  “Moments go Unnoticed” is a poignant instrumental interlude with melodeon and glockenspiel, which initially sounds like a continuation of “An Abandoned Building”.  Then suddenly it shifts into a distinctly nautical vein, making me pine for Pirate Weekend at the faire.

The ukulele and percussion in “Hidden Eden” lent the song a medieval sort of air, which is quite fitting with the theme of a paradise found.  The palpable longing in Eli’s voice is accentuated by the upright bass.   The listener can nearly sense the serpent that slithers though this “Hidden Eden”.   Indeed, paradise found is irrevocably lost in “Crawling Again”. A stark confessional, the song veers between the singer’s personal heart of darkness and an even grimmer finality.  Keening violin and funeral cello ass to the sense of loss, while the bass treads darkly alongside.  After these two songs, I will never think of May 31^st in quite the same way.

Next is “Only Ghosts Remain”.  With a clever intro that could easily be turned into a rumba; militaristic percussion; somber bass, and profound imagery, this song is classic Eli.   Then  it’s just the Bard and his guitar again for “Coat Collar”, yet another mesmerizing paean to loss and reflection. The chorus is especially moving.  In “Lay Down” Eli sings unaccompanied, and yet in many ways this is among the most powerful and visceral songs here.

The concert ukulele and slightly layered vocals on “Early Grave” remind me of Hot Jazz from the ‘20s.  The upright bass becomes low, dark, and strangely menacing.    Piano glides into a rather Baroque interlude that is quite captivating.   “The Dead End Road of Last October” begins very poignantly before abruptly turning forceful and insistent.  Towards the end there is a brilliant shift of chords, as the song deftly alternates between a sense of bleak contemplation and then urgency.

After a very smooth opening, “Ash and Soot”, a burst of energy erupts from the guitar and upright bass.  The guitar riffs are solid Rock, but eventually lead into a sort of Spanish sounding flourish that is quite unexpected.   To my surprise, Eli then sings lines from “Laid Bare” towards the end, melding these flawlessly into the song.

“The Ends of Your Ropes” stands in start contrast to most of the other songs.  The singer is exasperated, tired, and even defiant as he longs for a simple ending.  The reflection and soul-searching is over, and there is nothing left but the bitter fall of the curtain.  The guitar and the concertina impart a distinctly “Old World” flavor.    “The Tree” returns to the familiar melancholic rumination.  I even detect a hint of nostalgia.  Perhaps not even for the most pleasant of times, but simply for things as they were.  The cello is absolutely heart rending.

One of my favorites, “Lion” is sheer artistry!  The lyrics are evocative, the melody will stay in your head long afterwards, and the arrangements are exquisite.   “I am made of earth and insignificance…”  Cello and violin are particularly compelling as they weave around the vocals like a chilling wind.  “A Hare in the Trap” is a fitting end to the CD.  Vocals and melodeon rise like a hymn for the faithful that is over too soon.  But the echoes remain in your head long afterwards.

“Let This House Burn Slowly” is a masterpiece!  Eli August is comparable to a master chef.  Adding a plethora of unnecessary ingredients is a refuge for the mediocre.   Eli adheres to this same principle in his music, and the result is excellent.  A good example is his sparing use of sound effects, such as rain falling and a creaking door.  These are short and enhance the song rather than take the focus away from it.   The profound imagery of his lyrics merges with outstanding arrangements and fine production for a truly astounding result.  Eli August is one of the most original and talented musicians today.  He is also a nice guy, and in certain circles, that counts for much Fans of Steampunk and Americana will particularly appreciate this CD, but anyone who loves great music will find it indispensable.   I look forward to hearing even more from the Eli.

http://www.eliaugust.com/