CD Review

Going into the studio and attempting to recreate the raw, spontaneous energy of a live show is always a challenge, and consistently unattained. Inexperienced bands tend to steer themselves into long-winded jams, and synthetic twenty-two minute dramas in order to appease the show built audience. Thankfully, moe. has their highly respected Warts and All series to fulfill the live portion of the equation, leaving them to create innovative and solidly produced studio albums such as their 2000 released Dither. Following that particular record was not going to be easy, as it pushed the funk bandwagon out of the way with it's progressive 80s tinged rock, and well-crafted songwriting. Though rather than just going back to the studio, moe. raises the recording bar once again with their newly released Wormwood.

What was moe.'s answer to the live vs. studio dilemma? Record the summer 2002 shows, and bring those tracks in to be mixed, tweaked and reinvented. From the opening drumbeats of the lead track "Not Coming Down", to the wax cylinder recorded closer "Edison Laugh Record", the album more or less segues in and out of each song. The level of cohesiveness draws you in, and paces itself as a solid live set would. The occasional fan scream pops up every so often, but this is clearly more studio layered than live based. Perhaps the closest the album comes to sounding live is the centerpiece "Bullet", into "Kyle's Song". Close to the sixteen minute mark, this pairing is a clear demonstration of the strength they have as a full band. A similar feel is accomplished in the straight rocker "Okayalright". Here, Rob Derhak's vocals ascend over the band as they build to the crescendo. The live essence comes through loud enough to make you wish you had a bartender in your living room.

Though these heavy-edged songs dominate the album, Wormwood gains a great deal of strength from it's lighter side. The title track is a masterpiece, mixed evenly with slide, effects, and Al Schnier's contemporary style keyboard playing. This tune would make a fine choice to redo as an Al solo song where he lays down stylish, ambient electronica. Though the unassuming gem of the album comes in the sexy, Salsa-laced, Chuck Garvey song "Shoot First". The acoustic driven piece is some of his best work. With it's Tango-style lounge sound, it could easily be placed on a Pulp Fiction sequel.