The Whole Love from Wilco starts promising and ends OK.
The first song on Wilco’s latest is called Art of Almost and it begins with noisy grinding electronic noise that sounds more like Radiohead than Chicago’s favorite “Americana” band. At just over seven minutes the song sets the stage for more musical exploration, but then I Might comes bouncing in with 60s’ era perky pop – all bap-bap-bap drums, farfisa organ and even a doo-doo-doo-doo chorus. The album proceeds to move around between genres and whilst almost all of the songs are better than good, the sum total experience didn’t really stay with me long. I didn’t want to play it again right away like previous Wilco albums. Rather I felt obligated to listen again to make sure I wasn’t missing something.
Dawned On Me is a nice “Wilco” chugger that will offend no one, but it won’t be a hit either. Black Moon is soft, sad and pretty and puts their distinctive and reserved slide guitar to good use. Born Alone, Open Mind are earnest but non-essential Wilco songs. And then, Capitol City pops on and sounds immediately like the title track to the latest Pixar movie. I actually had to look at the song title and think back to recent animated movies to see if this was indeed from a kids’ movie soundtrack (it’s that corny). Standing O gets loud with a big 70s guitar riff, but doesn’t get much farther than that, and Jeff Tweedy’s voice sounds strained and submerged in the mix of hand-claps, and big lead guitars. The remainder of the songs are ones my Dad would certainly enjoy – they’re all likable, but not really lovable. Album closer One Sunday Morning (Song For Jane Smiley’s Boyfriend) is a bit of standout mostly for the laid back delivery and playing, and the picked guitar refrain that repeats throughout. But dang if that piano couldn’t be found on Bruce Hornsby album.
As a whole The Whole Love takes its cue from the opening song as is ultimately the Art of Almost.