Scruffy, whimsical and stylishly retro, Patrik Tanner is sort of
\nlike John Hiatt and John Lennon manning the two ends of a bear suit
\n— a punchline that makes much more sense after viewing the entire
\ncover art for
\nSoft<\/i>, which consists of several shots of the rather
\nworld-weary Tanner in a big, brown, furry, well, bear suit.<\/p>\n
The opening “Enter” promptly announces Tanner’s key influences
\nwith its sunny melodies and “ba-ba-ba-ba-yeah” background vocals
\nparaphrased right out of “Drive My Car.” This disc isn’t quite
\nRevolver<\/i> redux — too much Americana flavor for that — but
\nthe Fab Four’s indelible sonic stamp is there in the classic-rock
\ninstrumentation, clever vocal arrangements and warm production.<\/p>\n
What’s striking is how full and organic the sound is,
\nconsidering Tanner is pretty much a one-man band. A well-traveled
\nproducer (Tina Schlieske, Martin Zellar, Scott Laurent), Tanner
\nputs his studio skills to great use here, playing acoustic and
\nelectric guitar, bass, drums, piano, Hammond, harmonica and
\nwhatever else he can get his hands on.<\/p>\n
Tanner’s penchant for sunny melodies is most apparent on upbeat
\ntracks like the sincere “Halfway There,” but he seems equally
\ncomfortable with — and exceptionally competent at — sarcastic
\nblasts like “Best Ever!” In fact, it is as a Warren Zevon-esque
\nsharp-tongue-firmly-in-cheek songwriter that Tanner seems to hit
\nhis stride.<\/p>\n
Proving that point, “To Be Your Fan” is a modern classic in the
\nunderappreciated subgenre of musical odes to deranged fans (not to
\nmention, surely the only one to employ a sitar). From its cheeky
\nstart — “Your songs are my best friends \/ I guess that sounds
\npathetic \/ Your music’s so profound \/ Your words are so poetic” —
\nthe narrator becomes steadily more obsessive and unhinged in a way
\nthat’s simultaneously funny, creepy and alarmingly
\ntrue-to-life.<\/p>\n
Just when you want to pass him off as a clown, though, Tanner
\ncomes back with a swaying, richly bittersweet ballad of loss like
\nthe gorgeous “Little Guy,” and follows it with another, just as
\nstrong and full of keening little Brian Wilson-isms (“Don’t Leave
\nMe Here”). Which, now that you mention it, is exactly the approach
\nHiatt or Zevon would take. Comedy, tragedy, mortality and good
\npunchline — it’s all here, wrapped up in a singularly appealing
\nmusical package.<\/p>\n
\nSoft<\/i> is a compendium of warm, witty songwriting and
\nmasterful studio craftsmanship that is well worth your time and
\ncash. Highly recommended.<\/p>\n