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Luther & Toby, "Karny Sutra"
Hit Thing
Providing less variation than this election year's candidates are, apiano/organ player and a drummer play music that, with few exceptions,relies on a formula of presentation and peculiarity to succeed. Thefirst thing that caught my eye is the rather distinct and beautifulpainting that adorns the cover of this album. It is painted by theClayton Brothers of L.A. and has a carnival appeal to it. The hands andfaces of figures are distorted and bring to mind visions of a morefocused Ren & Stimpy or maybe just a slightly less disturbing MarkRyden. The music is reminiscent of the ways carnivals have always beenportrayed in the movies. For the most part an organ dominates themelodic progression of the album and steady, almost military-like drumsundercut this dry movement of cheap thrills and train-wreck amusements.When the opening track began I was fairly thrilled; the obvious musicalreference to freak-show attractions promised quite a lot, but Luther& Toby deliver very little. Slowly the over-simple combination ofmusical elements becomes lackluster. There are moments when nothinghappens despite the fact that I know an organ is emitting a series ofnotes. Towards the end of the record, on songs like "Aluminum Lady" and"144,000," Luther & Toby manage to strike just the right mood bymoving away from their love of the strange and absurd. Gorgeousmelodies and shifting rhythms sweep together in a dramatic fashion andconjure up a need for repeat listens. But two or three songs aren'tenough to save an album that tried too hard to present a particularimage. No matter how engaging an initial idea can be, it's hard to makea record based on that idea alone or at least it's very difficult to doso without the music becoming samey in very quick fashion. While thephotographs in the booklet and the promise of "Lucrezia Borgia Waltz"made it seem as though Luther & Toby were going to ride down along, untrampled road, the majority of the album simply meditates on asuperficial and ultimately uninteresting image. If there are circusoddities and strange twists of genetic code to be found in the worldthis album only hints at them. At the last moment, on the closing "OhSore Sore Song," there is a vast emptiness opened up and a group ofvoices sing a tune that could've only been heard in local taverns andfor just a moment there is something truly engaging about the albumthat suggests a past or a history of someplace unique. The song is,unfortunately, only a minute and six seconds long. I don't want to sayLuther & Toby are a one-trick pony, but there's no differencebetween dressing an album like this in rich pictures and looselydeveloped concepts and dressing up a bunch of rich boys, giving thembad haircuts, and calling them "rock n' roll."-
Providing less variation than this election year's candidates are, apiano/organ player and a drummer play music that, with few exceptions,relies on a formula of presentation and peculiarity to succeed. Thefirst thing that caught my eye is the rather distinct and beautifulpainting that adorns the cover of this album. It is painted by theClayton Brothers of L.A. and has a carnival appeal to it. The hands andfaces of figures are distorted and bring to mind visions of a morefocused Ren & Stimpy or maybe just a slightly less disturbing MarkRyden. The music is reminiscent of the ways carnivals have always beenportrayed in the movies. For the most part an organ dominates themelodic progression of the album and steady, almost military-like drumsundercut this dry movement of cheap thrills and train-wreck amusements.When the opening track began I was fairly thrilled; the obvious musicalreference to freak-show attractions promised quite a lot, but Luther& Toby deliver very little. Slowly the over-simple combination ofmusical elements becomes lackluster. There are moments when nothinghappens despite the fact that I know an organ is emitting a series ofnotes. Towards the end of the record, on songs like "Aluminum Lady" and"144,000," Luther & Toby manage to strike just the right mood bymoving away from their love of the strange and absurd. Gorgeousmelodies and shifting rhythms sweep together in a dramatic fashion andconjure up a need for repeat listens. But two or three songs aren'tenough to save an album that tried too hard to present a particularimage. No matter how engaging an initial idea can be, it's hard to makea record based on that idea alone or at least it's very difficult to doso without the music becoming samey in very quick fashion. While thephotographs in the booklet and the promise of "Lucrezia Borgia Waltz"made it seem as though Luther & Toby were going to ride down along, untrampled road, the majority of the album simply meditates on asuperficial and ultimately uninteresting image. If there are circusoddities and strange twists of genetic code to be found in the worldthis album only hints at them. At the last moment, on the closing "OhSore Sore Song," there is a vast emptiness opened up and a group ofvoices sing a tune that could've only been heard in local taverns andfor just a moment there is something truly engaging about the albumthat suggests a past or a history of someplace unique. The song is,unfortunately, only a minute and six seconds long. I don't want to sayLuther & Toby are a one-trick pony, but there's no differencebetween dressing an album like this in rich pictures and looselydeveloped concepts and dressing up a bunch of rich boys, giving thembad haircuts, and calling them "rock n' roll."-
