With House of Tongues, New York's Elk City re-invent the seductive sophistication of 1970's FM radio pop - but never shy away from their formidable rock power.
The striking blend of rock, folk, soul and jazz on their newest release separates Elk City from their peers in terms of ambition and expertise. Not since the brilliant American Music Club has a popular band so fully metabolized this range of influences to such masterful effect. The band shows its strength with elegance and ease on House of Tongues.
Singer Renée LoBue's muscular pipes are ripped and ready to carry the torch. Her melodic songwriting filled with a bracing, confessional vulnerability. LoBue possesses one of her generations most versatile and distinctive voices, alongside the likes of Regina Spektor and The National's Matt Berninger. Her songs are a veritable transit rail from the intoxications of 1960's Bay Area psychedelia to the smoky Parisian outposts which might once have hosted Nina Simone.
LoBue is well-matched with guitarist Sean Eden, who joined Elk City soon after the break-up of the legendary Luna. Eden's performance on House of Tongues may well constitute his finest on record. Certainly his identity as a player has never been cast in bolder relief. Eden expresses and withholds his playing in a manner perfectly reflecting the hope and anxiety of LoBue's lyrics. His playing is conversationally forthcoming yet willfully oblique. Eden extracts reservoirs of emotion from tracks like "Jerks On Ice" and he tears the cover off the closing moments of "Wire Goats" - a galvanic piece recalling mid-period David Bowie, with a vocal turn from LoBue evoking the effervescent readings of Brian Ferry.
Producer/drummer Ray Ketchem's agile focus crops in on LoBue and Eden but is perfectly vignetted by new keyboardist, Carl Baggaley. Baggaley's facile transition from barnstorming barrelhouse rhythm playing to sophisticated, jazz informed digressions expands Elk City's already impressive range. In addition, Ketchem's propulsive drumming provides the drive for tracks like "Real Low Riders", which evolves from a minor key verse ala Sonic Youth into a major rave up befitting the best of Blondie.
The international-timeline song "Nine O'Clock In France" finds LoBue dreaming of a night out in Paris from a very New York perspective. "Revelry won't wait!", exclaims LoBue on the track, and you'll want to join her for cocktails as the chorus unfolds.
The conspicuous cover art for House of Tongues was created by American contemporary artist Brian Dettmer. Using a Harper's Dictionary of Classical Literature and Antiquities from 1937, Dettmer sculpted his unique interpretation of the splendorous architecture of Elk City's music.
House of Tongues is indeed an act of architecture, each song building on the next with a runaway momentum culminating, finally, in one of music's great catharses. If there is a central moment, it would be "The Onion", a song which finds LoBue reading along with the famous lampoon as she simultaneously strips away the layers of artifice from her being. "I finally have the courage to look into the mirror and stand up for my life..."
And here, over the course of five minutes and 37 seconds, a seminal artist reveals her essence and her brilliance, abetted by great band at the peak of their power.
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white walls
Elk City Lyrics
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Oh, when you try to paint these white walls, a little paint won't do.
White walls won't tell me I'm no good.
Oh, when you try to mask these white walls, they're colorful inside.
I take a hammer to these white walls to watch you run and hide.
White walls won't tell me I'm no good.
White walls, they never talk back to me.
You say : "White walls won't tell me I'm no good.
White walls they never talk back to me.
White walls the have no character.
White walls are safe, that's safe with me"
The lyrics to Elk City's song "White Walls" appear to be addressing someone who finds comfort and safety in the blandness of a sterile, white-walled environment. The singer of the song, however, sees the walls as boring and in need of something more interesting or destructive. The lines "they're not too dull for you" and "a little paint won't do" suggest that the subject of the song is content with the walls as they are, but the singer feels the need to break them down and see what lies beneath. The hammer metaphor is particularly striking, as it implies a desire to destroy and a willingness to confront what is hidden beneath the surface.
It's possible that the white walls represent more than just a physical space; they could also symbolize a mindset or a way of life that the singer finds constraining or unfulfilling. The repeated refrain of "white walls won't tell me I'm no good" suggests that the singer needs more validation or connection than the walls can provide. Overall, the song could be seen as a commentary on conformity and the desire for something more vibrant and authentic.
Line by Line Meaning
Oh, when you stare at these white walls, they're not too dull for you.
You don't think these plain white walls are boring.
Oh, when you try to paint these white walls, a little paint won't do.
You can't just cover up these barren walls with a quick coat of paint.
White walls won't tell me I'm no good.
Being surrounded by blank walls doesn't judge or criticize you.
Oh, when you try to mask these white walls, they're colorful inside.
These white walls may seem plain, but they have hidden depth and beauty underneath.
I take a hammer to these white walls to watch you run and hide.
I'll even go as far as destroying these walls just to see you react.
White walls won't tell me I'm no good.
The walls won't bring down your self-esteem or make you feel inferior.
White walls, they never talk back to me.
The silence of the walls is comforting, and they won't argue with you.
You say : "White walls won't tell me I'm no good.
You're acknowledging what I've been saying about these walls not being judgmental.
White walls they never talk back to me.
You also find comfort in the silence and lack of response from these walls.
White walls the have no character.
Despite their hidden beauty, you still see these walls as lacking in personality.
White walls are safe, that's safe with me"
You prefer the sense of security and calm that comes from these bare walls.
Contributed by Victoria S. Suggest a correction in the comments below.