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His Name Is Alive, "Last Night"
I haven't listened to His Name Is Alive for about six or seven years, so I wasn't sure I had the right disc in my stereo when I pressed play and expected to hear the new album, 'Last Night.' The recent blitz of 4AD releases which all look thoroughly similar (computer-blurred images on a dark background digipak) didn't help my confusion, either. Instead of the dreamy His Name Is Alive indie pop I expected, what I got was a soulful, jazzy hybrid of funk and R&B with female vocals I did not recognize.
Apparently, His Name Is Alive is on a path to reinvent itself from record to record, the mark of a band which either gets bored with its sound or cannot execute the music with enough conviction to sustain it. The core of the band is now Lovetta Pippen (unrecognized soulful female vocals) and leader Warn Defever, a core lineup much like last year's 'Someday My Blues Will Cover the Earth' (a problematic prophesy when considered with this release). I tried to listen generously, but by the third song I was confused and cringing. A song like "Crawlin'" makes me cringe specifically because the lyrics seem so intent on conveying the jazz and R&B and funk sound which the band is trying to appropriate but without following through in the actual music. As a result, the lyrics appear overstretched and threadbare, exposing their own inadequacies by trying to cover the music's shortcomings. The repetition of the line "You got a lot of crawlin' to do" in conjunction with the soupy bass and wanky guitar makes my stomach ache. Songs like "I Can See Myself in Her" and "" even make brave excursions into what sounds like urban pop. All this is too large a jump for me, from my more familiar His Name Is Alive reference point of 'Mouth by Mouth.' The last straw was when I realized that the songs I could tolerate were covers: The Equals's "Teardrops" and Ida's "Maybe." On the one hand, "I Been Good Up Till Now" is a stark contrast point on the album, notable only for its retreat from the funk and the jazz and its return to repetitive bedroom ambience. On the other hand, "Someday My Prince Will Come" is an interminable eleven-minute indulgence into faux-funk, replete with horns. The majority of 'Last Night' follows this latter formula, albeit with slightly more restraint and coolness, and I am just not sure that His Name Is Alive should apply for any patents for this reinvention.
 
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