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Over The Rhine,
Films for Radio (2001)
by J. Marie Hall
I think maybe this recording, this collection of songs is
about internal worlds, about the dialogue that runs inside all
of us, conversations we have with ourselves. We hope anyone who
hears these songs will find some fresh language and maybe a soundtrack
of sorts for the stories we’re all writing everyday with
our lives, whether or not we ever pick up a pen.
-Linford Detweiler
Over the Rhine begins a new chapter with our century’s turn.
Whether it be roaming various countrysides with the Cowboy Junkies
or contributing a few songs to popular television dramas, the
band has stepped outside of its landlocked, Midwestern reputation
for independent music. Films for Radio made its debut in April
2001 and hurled Over the Rhine into their strongest spotlight
to date.
Lindford Detweiler and Karin Bergquist are the staple members
of this outfit and signed with Virgin Backporch last year. As
the new CD’s title might suggest, Films for Radio presents
a colorful offering of story-telling.
While Bergquist and Detweiler are recognized as artists par excellence
within many Christian circles, they do not categorize their musical
efforts as specifically “Christian.” Their journey highlights
God’s mercy and foregrounds it in divine beauty, but they
tend to pursue a quality and integrity of experience without the
common evangelical agendas and prototypes.
As trailblazers within the music industry, Over the Rhine stayed
true to unconventional methods while recording Films for Radio.
In the tradition of their homemade recordings and third-story
windows, many of the tracks were recorded in Dave Perkins’
“existential bus” in Nashville or in the “Grey
Ghost,” the couple’s home in Cincinatti. While the album
showcases their classic folk roots with songs like “If Nothing
Else” and “Little Blue River,” they experiment
with a variety of styles and sounds. In “The Body is a Stairway
of Skin” (a ditty à la Portishead), one swims through
whale calls and a strong rhythmic base. Films for Radio surprises
even long-time fans who have come to expect nothing less than
revolutionary experimentation.
“The World Can Wait” (track one) is a tune enriched
with a nocturnal piano undertow and personal retreat. While there
is always much to do in our chaotic society, an empassioned apathy
invades the intentions of the narrator as she curls ever inward,
chanting, “The world can wait/ I want to drink the water
from your well/ I want to tell you things I’ll never tell...I’m
wide awake/ And the world can wait.” As the story of life
unfolds, this chorus chases visions of Mary, Martha’s sister,
at Jesus’ feet.
A fleshy, full-forced approach marks the new album with raw abandonment.
Bergquist’s mystical wail echos a savage, human need in “I
Radio Heaven.” It epitomizes the pleading assertiveness of
Thom York (of Radiohead). The gritty honesty may startle the mainstream
Christian community, but the band struggles for truth in the mediocre
and watered-down world they often encounter.
Cincinatti’s musical pair cultivates a thoughtful pursuit
of God. They’ve worked with other artists like the recently
deceased Gene Eugene and the Vigilante of Love, Bill Mallonee.
Films for Radio dons “Goodbye,” the song they contributed
to Roaring Lambs (2000), a compilation/project that encourages
Christians to reach into the secular culture and to serve God
with creative excellence inside it, both professionally and personally.
The band challenges perceptions even further with their second
version of “Moth,” a song Bergquist wrote and recorded
for Amateur Shortwave Radio (1998). With numerous biblical references,
there is a stark invitation to be real for those trapped within
the Christian subculture. Over the Rhine boldly confronts believers
at large to examine their faith. The moth metaphor undoubtedly
comes from Holy the Firm by Annie Dillard, one of Detweiler’s
favorite literary influences.
As is characteristic of their approach, questions abound in Films
for Radio. Perhaps the most formidable one accompanies the reflective
lyrics for “When I Go,” the last track on the album.
A desperate longing for eternity finds a home in sentiments like:
“I want to know/ I want to know/ Will it make a difference/
When I go/ What is a love/ If the love’s not my own/ This
is not my home/ This is lonely/ But never alone.”
The extravagance of art, the flickering of speculation and deep,
eternal longings are traits common in all of the work of Over
the Rhine. Films for Radio carries the torch one step further.
It is rich and indicative of the constant growth Over the Rhine
experiences, both musically and spiritually.
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Over The Rhine,
Films for Radio (2001)
by Drew Vogel
Over The Rhine, the Cincinnati-based band fronted by husband
& wife team Linford Detweiler and Karin Bergquist, have been
meandering. Their latest offering, Films for Radio on Virgin's
Backporch label, bears the fruit of these wanderings. Over The
Rhine has been producing underground CDs for over 10 years, and
this project comes after a hiatus of a few years between new releases.
Karin & Linford have been using their time well. This album
proves it. The eleven-song disc roves merrily from musical style
to musical style, each style performed with a refreshing grace,
talent, skill, and, occasionally, almost tongue in-cheek humor.
A new listener might be surprised to learn that all the songs
come from the same band. Lyrically, the album's writing is crisp,
tight, personal, and strong -- a hallmark of Over The Rhine. Even
the liner notes are an entertaining read.
Production on the disc is consistent, and of a high quality.
The booklet includes lyrics, liner notes, photographs by Michael
Wilson (including a surprising photo of the recording studio!),
and contact information. It is glossy, well-designed, and compliments
the 'feel' of the project.
"The World Can Wait" launches the disc, offering catchy
lyrics and a driving beat that confidently heralds this new sound
for Over The Rhine. Karin's soaring vocals are beautifully counter-pointed
by the somber piano that seems to hesitantly drag itself forward
in a compelling march.
"Give Me Strength" A fascinating vocal loop at the
very beginning of the track... Does anyone know the origin? Borrowing
the track from Dido Armstrong, Over The Rhine makes this song
uniquely their own, and moves effortlessly into the style of Euro-pop.
"I Radio Heaven" A torchy, vampy style given a decidedly
modern twist, thanks to Jack Henderson's lap steel. One can almost
imagine Karin tango-ing to this fun, smoky song that doesn't take
itself too seriously. "the truth is i bleed you/when these
frequencies cut me/i'm a slut with a mission/a singular vision".
"Little Blue River". Long-time fans will be thrilled
to hear this concert staple that has finally made it to a record.
A beautiful song even when done simply, with just acoustic guitars,
this full-band treatment is precisely controlled and highlights
the weary joy of the lyrics. Karin's vocals soar in this piece,
demonstrating her wonderful vocal instrument. Linford's piano
is absolutely joyful. Jack Henderson knows how to use the lap
steel to add the perfect undercurrent to the song. "every
step that you've been taking/is straying a little further south/as
for me i am so tired of living (babe)/so hand-to-mouth".
The style of the guitar-driven "Whatever You Say" is
perfect for driving, with the top down, fast, down some lonely
country road, tapping your fingers on the steering wheel.
"The Body Is A Stairway Of Skin" offers heavy back-beat
& slinky trance/techno style, and once again, Karin's voice
tackles the style effortlessly. The spoken word in the latter
parts of this song is so perfectly mixed that it sounds, through
headphones, as if Karin is leaning over your shoulder and whispering
gently into your ear. An altogether pleasant experience.
One of my personal favorites, "Moth" again highlights
the wonderfully strong songwriting of Detweiler & Bergquist.
"and my answer to the years of strife/is the way i chose
to live my life". Terri Templeton makes a too-rare appearance
on this song, lending her ethereal voice to harmony vocals. I
was very impressed that this song has been, apparently, re-recorded
from the version previously released on the retrospective AMATEUR
SHORTWAVE RADIO.
"When I Go" is a personal, vulnerable song revealing
the mind of a lover who is leaving. Michael Timmons, from Cowboy
Junkies, lends a seething guitar lead that expertly counter-points
Karin's delicate vocals.
Over The Rhine presents, with this latest offering, something
for nearly every musical taste. They are masters of their craft;
inventive and polished. FILMS FOR RADIO has been worth waiting
for.
More
information on the CD.
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