Album: Califone

Quicksand/Cradlesnakes, Thrill Jockey

Andy Gill
Friday 28 March 2003 01:00 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

2003 is proving something of a golden age of American alt.rock, with great albums by Calexico, John Doe and Bonnie "Prince" Billy joined this week by The White Stripes and this fine second album from the Chicago band Califone, who occupy the sparsely populated territory where alt.roots music meets free-jazz improvisation. With the percussionist Ben Massarella fashioning bespoke rhythm tracks from all manner of clicking, thumping and shaking noises, and the new additions Jim Becker and Joe Adamik bringing in, respectively, banjo/fiddle/ accordion and horns/keys/drums/kalimba, Califone's music is certainly on the same map as Tom Waits, yet distinguished by the singer-songwriter Tim Rutili's more abbreviated, imagistic lyric style. There's something pleasing about finding lines such as "Quiet quick violence/ Like shit on old money, can't wash it off/ Held like lice on a lion/ Stay quick and quiet my mean little seed" riding sawing fiddle and plunking banjo. Califone mostly resist the urge to fashion facsimiles of old roots styles, preferring strange new forms with abstract electronics and free-jazz sax. That said, some of their best work appears on the sly blues grind of "Your Golden Ass" and the relaxed raunch of "When Leon Spinx Moved into Town", in which the guitar interplay suggests Television's Marquee Moon with a more bluesy heart.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in