- Tracheotomies. Not the sort of subject matter you find in most songs, but then again, most songwriters aren’t Will Sheff. So begins Into the Rainbow Rain, the ninth album by venerable indie rockers Okkervil River. The album is an upbeat, jaunty affair with mellifluous melodies that would go well with a summer breeze and an icy drink. That’s not to say that it is without dark moments and lyrics (it isn’t), but by Okkervil River standards, this is joyous as an album gets. Following their “breakthrough” album Black Sheep Boy in 2005, Okkervil River developed a reputation for sad acoustic rock of endless dolour, but Into The Rainbow Rain is proof that there are many strings in the bow of this endlessly talented band.
As alluded to earlier, the record begins with a song called Famous Tracheotomies. The premise is self-evident in the title as Sheff offers tales of the lives of eminent figures who had tracheotomies. It’s the sort of thing that only Sheff could pull off with his adroit ability to sculpt funny, sad and heart-warming vignettes into each verse. Beginning with his own experience, Sheff sings about the Motown vocalist Mary Wells who went through tribulations after being diagnosed with laryngeal cancer only to, “Pull through / For one more year or two”. With verses about actor Gary Coleman and lauded poet Dylan Thomas, Sheff concludes with a verse about Ray Davies, the legendary singer-songwriter of The Kinks. It’s a fitting conclusion, as Sheff references Davies’ class song, Waterloo Sunset before the band incorporates its melody into the outro here. Famous Tracheotomies is worth the price of the album on its own.
Prior to their last full-length, Away, most of the band was replaced by new members. The difference was salient. Earthy instruments like twelve-string guitars, violins and double bass pervaded, but on Into the Rainbow Rain, Okkervil River has changed direction again. Sheff’s acoustic guitar is less prominent than ever and many of the songs feature processed drum beats and keyboard lines. Having said that, there is still a vintage sound reminiscent of the '70’s Laurel Canyon music scene. This is most evident on Don’t Move Back to L.A. with its Crosby, Stills, & Nash type harmonies; it’s one of the most enjoyable numbers on the album. Built on an ascending chord progression, the instrumentation is outstanding and an oscillating guitar solo creates a psychedelic vibe on the simple song.
Overall, this might not Okkervil River's finest ever moment but it is, nonetheless, another star in the firmament for an inspired group of musicians and one of the great songwriters of the modern era —and not much could be better than that.
- Jon Cloumassis.