Howe Gelb
Album:
‘Sno Angel Like You
Record Label:
Thrill Jockey
Best known as the leader of Tucson-based Giant Sand, Howe Gelb’s musical resume is a hydra: do yourself a favor and look into his discography. His projects, from idiosyncratic solo piano to loud rock, merely scratch the surface of his artistic restlessness. The one thing he has not attempted is recording an album with a Canadian Gospel choir in the midst of an Ottawa Winter. Enter ‘Sno Angel Like You.
Gelb is nothing if not fearless; never overtly religious but certainly spiritual. Recruiting the 11-piece Voices of Praise Gospel Choir and Arcade Fire drummer Jeremy Gara, Gelb began recording tracks. “Rumors of a better world, when we get to leave,” Gelb sings on the opening cut, and the choir is already humming in idle. The spaces in Gelb’s music become part of the recipe on this album. Keenly working to build tension and release throughout, Gelb’s creaky vocals are set in relief to the choir’s power and majesty. The combination of Howespeak (not unlike Mike Watt’s native tongue) and the collective vocal swells illuminate.
On one trio of songs, Gelb and company make music for the ages. “The Farm,” a tune based on the unswerving strength of love and written by Gelb’s late mentor Rainer Ptacek, opens on a wobbly groove. Yet as Gelb gets to the chorus, the amassed voices echo in confidence and the leap is easy as it is obvious. As the record unfolds, the subtle choral backing lulls you into a sense of security. Then Gelb unleashes “Howlin’ a Gale,” which is as cantankerous and rockin’ as Gelb allows. The tension builds as guitars twang and slide, the chorus recalls Lou Reed (circa Coney Island Baby), and the choir morphs into the very definition of the song’s title. Justly inspired, Gelb peals off a slow flurry of squealing and damaged harmonic grace notes on electric guitar. Lastly, Gelb resurrects “Neon Filler” (from Giant Sand’s 1994 album Ramp), to a late-night gospel throb abetted by a soothing Hammond organ. What emerges is one of the best performances of his long and winding career. Gelb’s world-weary vocals recount a funeral scene as the tune trundles along. Then, as if by instinct, the choir buoyantly props him up, singing “… light is the Moses, splitting the waves in a sea so dark." VS
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