Boston Phoenix
INTERMITTENT
STORMS: but there’s mostly a clarity in the songwriting that unravels the
mysteries of the human soul..
Full-baked
Graeme Jefferies
channels poetry into the Cakekitchen
By Matt Ashare
In self
imposed exile from his native New Zealand for the last four years,
singer/songwriter Graeme Jefferies has cultivated both a cult following and
a cultish persona as the art-punk visionary behind the Cakekitchen. Less a
band than a continually changing vechile for Jefferie´s dark, poetic, deadly
serious whims and fancies, the Cakekitchen have yielded a remarkable series
of often disturbing, mesmerizing melodic dispatches that began with 1988´s
“Messages for the Cakekitchen”, a disc that wasn´t widely available until
1993, when Jefferies had established himself in London and Ajax re-released
it. The latest message “Stompin´Thru the Boneyard” on Merge is the
Cakekitchen´s sixth. It finds Jefferies, who brings the Cakekitchen to T.T.
The Bear‘s Place next weekend, in the company of drummer Jean-Yves Douet,
working his way back to Europe with a recording that began in London, moved
to France, and ended in his former home town. But travel hasn´t diminished
his powerful perspective as an outsider looking in on the decay of what he
once called, in one of his more affecting songs, “A World of Sand.
“
Boneyard begins with the forceful drone of the sad and beautiful “Tell
Me Why You Lie?”, The start of a doomed romance framed by the austere buzz
of Jefferies‘ circular guitar riff and the exuberance of Douet´s kinetic
drumbeat. It ends with the resigned, almost easygoing trot of “Another Sad
Story,” a tuneful ode to broken promises and unkept appointments. In between,
the tide of mixed emotions and infectious melodies ebbs and flows but the
vaguely dissonant erosion never lets up under the pull of Jefferies‘ edgy
guitar, tinkling piano, a cutting violin, or the languid intensity of his
deep sonorous voice.
The intermittent storms of chaos and cacophony that
rain on Jefferies´parade of tragically sketched characters arrive not as
avant-guardist conceits but with the inevitability of thunder after
lightening. Jefferies is a disciple of the Velvet Underground, the cynical John
Cale-era VU of “Sunday Morning” and “All Tomorrow´s Parties, “ Like Lou Reed
he´s not above blowing an offhand thought into a full-fledged song. “Hole in
My Shoe” starts and ends as a noisey meditation on a hole in his shoe,
though it does include a declaration of love to a girl called
Valerie.
At his best, Jefferies‘ juxtaposes extraordinary
emotions with everyday details, deadpanning cutting observations, and
crafting something deceptively universal out of the idiosyncrasies of an
inviting-yet-menacing small world of romance and turmoil. It´s a trait he shares
with Richard Butler, who painted similar pictures of romantic decay with
nicotine stained sincerity on the Psychedelic Furs´first two albums. Like
Butler, Jefferies also draws on David Bowies´excample as alienated artist
playing with pretension and grand gestures. He even cops the riff from
“Panic in Detroit” on “Mr Adrians‘Lost in his Last Panic Attack.“ But as the
title suggests, this is an earthbound Ziggy Stardust, grounded in the more
mundane world of “endless cups of tea, “ even if that world is constantly
spinning off it´s axis.
The model of the rock lyricist as poet seldom
holds up under scrutiny, but Jefferies does know how to marry imaginary and
prescise word choice to music. “Even As We Sleep” explores the tenuous
balance between the comfort of romance and the self-deception it sometimes
entails. Lines like “When I look at you across the table with your hair
undone and one eye fixed upon the door/Seems like nothing’s wrong” hint at
dark secrets to be revealed. But it’s the climaxes of crashing cymbals and
frenzied guitars rising suddenly out of the stark, tension-ridden quiet that
give the “lies and schemes and poison arrows” their devastating force. And
the rough-hewn tenderness of a one night stand in “Bad Bodied Girl” comes
across in both the warm flow of strummed acoustic and electric guitars and
the distant delivery of lines like “If all your fun has come undone and
fractured like a stain/I’ll take you to your apartment and wash your blues
away.”
For all its tales of inner torment and treason, Stompin’ Thru the
Boneyard is a sonic salve for the daily blues. Between the exotic textures
of Jefferies’s churning guitar and his smooth, understated vocals, there’s a
comforting melodic blanket that offers the tenderness of that one night-stand.
It’s the fleeting and intense allure of a darkness in which you’re not
alone.
The Cakekitchen headline T.T. The Bear’ s Place next Thursday,
April 6, with the Lune, Mile Wide, and Purple Ivy Shadows. They open for
Robyn Hitchcock at T.T.’ s on April 7.
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