Dear Catastrophe Waitress

by

Belle and Sebastian

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Like most veteran fans of Belle & Sebastian, I worried about this CD for months before it came out. Would the band evolve away from all the things we love about them? After learning that this album would be produced by Trevor Horn, my concern was that it would sound much too fake and polished--like a cheap plastic version of their old works.

B&S singer Stuart Murdoch said (on the band's website I think) that in making Dear Catastrophe Waitress, he and the band had an ammount of fun that hadn't been achieved in making any of their albums since Tigermilk. Now that I've finally heard this new CD, I don't feel Tigermilk, but I certainly do feel the fun.

The band has traded their darkest cynicism in for more mature responses and even life-affirmation at moments; exchanged their flat and shaky vocals for strong and deliberate melodies and more harmonies than ever; and as far as instrumental arrangements, the dizziness and some of the etherealness has been replaced by energy and sunniness. The evolutions are of course in a direction that we tasted in their last two full-length albums and last several EP's, but they are most fully realised in Dear Catastrophe Waitress. And not everything has changed: their wit, silliness, playful melodies, and the chamber pop aspect are as strong as ever.

Any long-time fan will find here grounds to be nostalgic for the the good ole familiar Belle & Sebastian heard on classics such as If You're Feeling Sinister and The Boy With the Arab Strap. However, I recommend loving the fact that their sound has not become stagnant, and embracing this new style as lovely and refreshing!

...because this album is a strong indicator that Belle & Sebastian will soon find their footing and release another great album. The downside, of course, is that this one is merely good.

First, let me lay my cards on the table and say that I am one of those people who believes in what another reviewer calls "the holy trinity": Tigermilk, If You're Feeling Sinister, and Arab Strap. Those albums, to me, are classics that I will never put down. Unlike some B&S fans, I actually find their music better accompaniment for a sunny day than a rainy one.

As far as this album goes, it is a radical departure in sound from their previous releases. It is very pop-sounding and for the first time shows that B&S have enlisted the services of a professional producer. However, the lyrical content of the songs remains the same: witty, wry, and wistful by turns and terribly, terribly clever. Those longing for a taste of the old B&S will best be served by "Lord Anthony" (which is the one song I ripped to my iPod before selling this album), while new converts may find each track exciting.

I really, really tried to give this album a chance. I played it for a week while driving, grocery shopping, commuting, and reading. At the end of it all, I was no more endeared to the album than when I started and the songs had started to sound even more similar. I am not wishing that Belle & Sebastian keep the same sound forever, but I think this is a stepping stone to finding their new sound somewhere down the line. The most apt comparison that I can think of is to R.E.M. They made several classic albums and developed a loyal fan base, but I don't know anyone who thought "Monster" was a good album. It was merely a transitional album while they tried out new sounds. After a couple of missteps, they made "Reveal", which ranks among their best. I think B&S will evolve into something even more amazing in the future, but "Waitress" strikes me as an awkward growing pain.

Why the three stars? Because anything Belle & Sebastian makes is still a cut above whatever else is out there.