Review Under Two: Constancy by The Roseline

Review Under Two is a segment of The Marinade with Jason Earle podcast where host Jason Earle reviews a work he finds inspiring in under two minutes.

Our Review Under Two for Episode 100 with singer-songwriter Ryan Anderson focuses on the excellent new record Constancy by The Roseline.

The Roseline’s Constancy is a slice of pumpkin pie as imagined by a cutting edge chef. Reminiscent of bands like Whiskeytown and The Flying Burrito Brothers but insistent on tackling familiar themes and exploring comfortable sounds from an original perspective. 

Constancy is a hopeful record. Its characters do the messy work of looking back and examining the changes that need to be made. They acknowledge the messes in their lives and refuse to be defined by them. They decide to persevere instead. 

The backbone of the album is a tune called “Hunker Down.” It is a perfect encapsulation of the record’s prevailing theme. Constancy’s characters are in varying stages of getting to know themselves, with those in “Hunker Down” getting as close to self-actualization as one could dream. 

“All I wanna do is mostly nothing/Hunker down with you and try to tame/All my pecadillos and bad habits/Lay ‘em to waste”

“Hunker Down” is the excavation of life as a work in progress. It digs up the days of “flirting with service industry women” and “spending a shift’s worth of wages or more” in one night- those floundering moments of foolish youth that feel like they are necessary rites of passage. Maybe they are. Maybe the big takeaway should be that our bad habits and mistakes are necessary to develop constancy as a skill. 

The narrator in “Hunker Down,” has overcome the false urgency of a night wasted to experience the beauty in doing “mostly nothing” with people you love. 

We could all use a healthy dose of constancy, and The Roseline is an able ambassador for fortitude in the face of a precarious global landscape.

Review Under Two: Van Plating's The Way Down

Photo by Bethany Blanton

Review Under Two is a segment of The Marinade with Jason Earle podcast where host Jason Earle reviews a work he finds inspiring in under two minutes.

Our Review Under Two for Episode 98 with singer-songwriter Jeremie Albino focuses on Van Plating’s record The Way Down.

Van Plating’s forthcoming record The Way Down is a top self bourbon served neat on the back deck at twilight. Its complexities are immediately apparent but still best enjoyed with slow, rapt attention and an awareness of their context.

Plating spent her 20s playing and singing in indie rock bands. When her band Pemberley broke up she decided to take some time off from touring and making records. Then life happened and a little time off turned into years.

Once the need to create, the pang that pushes one to make beautiful things, enters the system it never leaves. Like a blood flute quietly doing its work, the need to make art will rear its head even decades after the bug first arrives. 

Photo by Bethany Blanton

Plating’s 2019 self-titled record was the first manifestation of the creative bug pushing itself from the cocoon. The Way Down (set for release on 11/19/21) is where the butterfly takes flight. A decade of reflection and growth baked into a collection of songs that celebrates the person Plating has become and is becoming. 

So often we think of creative change in terms of rebound or redemption. An artist who overcame addiction or was left for dead by the industry. In the case of Van Plating’s The Way Down, the change is not a return from oblivion. It is a leap back into a life that was always there percolating just below the surface of a “normal” existence.

The spiritual centerpoint of the record is the final track “Oxygen.” It is a song about the loss and recovery of love. Its imagery is stark and powerful, with the ocean setting the stage for an examination of what it means to lose something essential and recover it through perseverance. 

“Whose side are you on? My wings are made to soar.”

“Oxygen” is the second song on the record to mention wings- the appearance of which nods both to Van Plating’s complicated relationship with the church and her determination to rise above the noise. Who should make art? How and when should it be made? Throughout The Way Down Plating decides the answers to those questions on her terms. 

“Oxygen” is a fitting closer to the record. With little more than three chords and an acoustic guitar, Plating makes apparent that while she may have had a hard time breathing at points in her life, on this record the creative airways are clear.

Review Under Two: Razorblade Tears by S.A. Cosby

Review Under Two is a segment of The Marinade with Jason Earle podcast where host Jason Earle reviews a work he finds inspiring in under two minutes.

Our Review Under Two for Episode 97 with singer-songwriter AHI focuses on the novel Razorblade Tears by S.A. Cosby.

So many of life’s important conversations are now reduced to shouting at the opposition. If only we all had S.A. Cosby filters to pass through our complicated thoughts, this might cease to be true. Put through the prism of Cosby’s able pen, the nuance of situations can exist and the big issues face reckoning. 

The characters in S.A. Cosby’s novel Razorblade Tears come to a place of understanding, but not by shouting about how they are right and others are wrong. They get to a place of compassion, remorse, and recognition by rolling up their sleeves and getting dirty. 

Ike , Buddy Lee, and the rest of the ensemble come to life through Cosby’s command of dialogue. The two fathers - Ike and Buddy Lee - are the stars of the show and they have a lot to say to each other. They are ostensible opposites who have a lot more in common that they realize at the outset of the story. Ike is a black man. Buddy Lee is white. Ike runs a successful business. Buddy Lee is barely holding whatever he has left together.

We get to know them through trips to bars and flower shops. Through long drives and mornings at the breakfast table- none of which are particularly conventional given the circumstances of these otherwise pleasant settings. They get to know each other by talking about the gravity of the situation in which they find themselves and the consequences of their actions.

Despite their differences, the two men share a quest for vengeance stemming from the brutal murder of their sons, who were a married couple. Neither father was very good at their jobs while the boys were alive - which is both a function of their own prejudice and the fact that each man found himself in trouble with the law for violent reasons. They are united by a desire to do right this time- to find out who killed their boys and why.

While the fathers dominate the story, every character is treated as a crucial piece of the puzzle. We learn about their insecurities, their strengths. We get to understand their motivations. 

Ike and Buddy Lee develop into heroes but the line between hero and villain in this crime thriller remains thin until the end.

The demarcation happens as a result of the choices each character makes. Cosby’s villains are evil not only because they are bigots, but because they are bigots who are unwilling to change. 

Ike and Buddy Lee harbored some hate of their own. What sets them apart from the truly nefarious characters in this book is their willingness - albeit a stubborn one - to self-examine. These are guys who could be dismissed as total ass holes on the surface. A pair of ex cons, both homophobes when we meet them. But, forced into action by a system that has left them behind, the two men become friends who help transform each other. It is in these moments that their humanity shines, even as they are committing unspeakable acts.

In Razorblade Tears, there is a hope that people can change. There is an opportunity for redemption, even for middle aged folks who have had life knock them down with its best combinations. S.A. Cosby delivers a knockout punch like one of his protagonists with this novel.

Review Under Two: Bendigo Fletcher's Fits of Laughter

Louisville, KY, is the Istanbul of The South. A town at the crossroads of East and (Mid)West. A place suited to spawn My Morning Jacket, Muhammad Ali, Hot Browns, and Louisville Sluggers. A city proud of its heroes and icons. 

Louisville is a Southern town and a Midwestern town. It is country and cosmopolitan. Edgy with an insistence on being refined. Above all, Louisville is one of the jewels of Kentucky- a state whose pride in its creative contributions to American culture could never be over-inflated.

While those icons endure, a new generation carries on the legacy while forging their own trace. In furtherance of that lofty tradition stands Bendigo Fletcher. A band whose music is the feeling of first acceptance after a tough breakup, of the promise that a jarring and unexpected decision brings. Bendigo Fletcher’s Fits of Laughter is an album drunk with familiar sounds melding in the mind to create the buzz of a Sunny Sunday afternoon in the fall. 

As they take the stage at Americanafest’s 2021 Commonwealth of Kentucky showcase a group of twenty-somethings makes their way to the front of the crowd. For the next all-too-short thirty minutes they are all of us who have fallen for this band. Ryan Anderson’s lyrics spanning from party anthem worthy to ruminations on existence and communing with nature. The sounds from Bendigo Fletcher’s tight group of players running through myriad soundscapes to create a sound that is both mature and fresh. 

Ken Coomer, who played drums with Uncle Tupelo and early Wilco, produced Fits of Laughter. His influence on the record is clear. Anderson described their partnership as natural. They began working together by talking about music they loved. To hear him talk about the process sounds like a joy. Joy is the emotion Bendigo Fletcher’s Fits of Laughter evokes. 

From the twenty-something folks dancing and singing every lyric right up front to the music journalist twice their age sporting a grin wide as the Cumberland Gap, Bendigo Fletcher’s record Fits of Laughter and their performance at Americanafest 2021 ignites joy in all who listen. 

Review Under Two: Nathan Bell's Red, White, and American Blues (it can happen here)

Photo by Keith Belcher

The novel It Can’t Happen Here by Sinclair Lewis was published in 1935. It tells the story of Berzelius “Buzz” Windrop, a demagogue who is elected as President of the United States and subsequently seizes authoritarian power. Winthrop is in over his head, an unlikely populist juggernaut, and not smart enough to hold the job. Sound familiar? Almost feels like it can in fact happen here, doesn’t it?

Like its partial namesake, Nathan Bell’s Red, White, and American Blues (it can happen here) is an unfortunately timeless piece of art. Necessary in its import. Heartbreaking in its relevance. 

Written over the course of several years and delayed in its release by the COVID-19 pandemic, Red, White, and American Blues has a transportative quality. The tension of recording in 2019, a stress that is often forgotten due to subsequent events, feels immediately present to the listener. While the record feels like 2019, it also feels like 2015 and 2021 and 1935, because Nathan Bell lives in the present and he has lived.

Lived in the sense of raised a family. Lived in the sense of worked a 9 to 5 job. Lived in the sense of come home from work and put on the ball game. In the sense of read all the books and listened to all the records. He has a poet’s eye with an everyman’s heart. Red, White, and American Blues (it can happen here) is the self-aware expression of a life well-lived. It is what every songwriter seeks- an honest expression of where we have been and where we are now. 

The album is musically sparse which allows Bell’s command of storytelling and imagery to shine. Bell takes on America’s gun obsession (twice), “Buzz”-Windrop-come-to-life Donald Trump, and more that ails this country. He also celebrates everyday folks, pays respect to his late father, and examines mortality with an optimistic eye. 

Red, White, and American Blues (it can happen here) would be a powerhouse of a record if the vocals were Bell’s alone. The contributions of Aubrie Sellers, Regina McCrary, and Patty Griffin take songs that stand on their own two feet and launch them into rarified air. 

The collapse of a free society can, and very well may, happen here. It won’t happen for lack of artists like Nathan Bell turning a critical eye on American society.

Lived in the sense of raised a family. Lived in the sense of worked a 9 to 5 job. Lived in the sense of come home from work and put on the ball game. In the sense of read all the books and listened to all the records. He has a poet’s eye with an everyman’s heart. Red, White, and American Blues (it can happen here) is the self-aware expression of a life well-lived. It is what every songwriter seeks- an honest expression of where we have been and where we are now. 

The album is musically sparse which allows Bell’s command of storytelling and imagery to shine. Bell takes on America’s gun obsession (twice), “Buzz”-Windrop-come-to-life Donald Trump, and more that ails this country. He also celebrates everyday folks, pays respect to his late father, and examines mortality with an optimistic eye. 

Red, White, and American Blues (it can happen here) would be a powerhouse of a record if the vocals were Bell’s alone. The contributions of Aubrie Sellers, Regina McCrary, and Patty Griffin take songs that stand on their own two feet and launch them into rarified air. 

The collapse of a free society can, and very well may, happen here. It won’t happen for lack of artists like Nathan Bell turning a critical eye on American society.

The album is musically sparse which allows Bell’s command of storytelling and imagery to shine. Bell takes on America’s gun obsession (twice), “Buzz”-Windrop-come-to-life Donald Trump, and more that ails this country. He also celebrates everyday folks, pays respect to his late father, and examines mortality with an optimistic eye. 

Red, White, and American Blues (it can happen here) would be a powerhouse of a record if the vocals were Bell’s alone. The contributions of Aubrie Sellers, Regina McCrary, and Patty Griffin take songs that stand on their own two feet and launch them into rarified air. 

The collapse of a free society can, and very well may, happen here. It won’t happen for lack of artists like Nathan Bell turning a critical eye on American society.