Record Exchange Boise

Reviews:

Every generation spits up a cadre of leather-clad dinks aspiring to Sid Viciousdom,convinced that living on the edge requires a balanced diet of cheap narcoticsand random violence. But in the songs of Carol Van Dyk and the band of Dutchindie pop vets she fronts, genuine existential risk is something far more humdrumand unexpected and insidious. It's waking up on the wrong side of thirty,having stumbled for years in various creative directions while prudent dullardswere shoring up their assets and signing marriage licenses, and recognizingyour utter lack of emotional and financial security. "We don't havemuch to show for life," she sings on the opening track, "Wide EyedFools." "Not a perfect home, not a perfect wife." It's herclearest statement of purpose since "Tomboy," from the band's1992 debut, Palomine, and it's just as defiant.

So what's Van Dyk got to show for her past decade of indie travails? Justthis rock band, and on Log 22 they prove themselves more than enough. For theBetties' last album, Private Suit, P.J. Harvey collaborator John Parishimposed strict production values, carefully trimming the edges of guitaristPeter Visser's roundabout noodling, reducing them to backup band status.Now Visser himself is at the controls, and his playing predictably stragglesall over the place. Freed of the false sense of security Parish's chamberpop settings provided, Van Dyk once more allows her abstract, allusive lyricsto ramble freely, and as Visser's guitar lines roam alongside, the bandonce more finds safety in numbers.