Eagerly-awaited debut album from Boston collective, Tinkertown.  It’s everything we hoped for – and more!

Release Date:  21^st June 2014

Label: American Laundromat Records

Formats: CD / Vinyl / Digital

We’ve already had a sneaky preview of this one.  Back in May, American Gothic’s lead single – and its opening track – Red Eyes, passed across our desk and, it’s fair to say, we were smitten.  In fact, we liked Red Eyes so much, we placed ourselves on Red Alert, in anticipation of the release of American Gothic.

Well, American Gothic is here now and it’s everything we hoped for, and more.  Tinkertown’s core pair, multi-instrumentalist Dean Fisher and vocalist Gabriella Lawrence had hinted that the album would represent a move away from the power pop/dark new wave influences with which they were both, as members of Massachusetts band, Ghost and Shadows, most associated and would, instead, probe a whole new world of sounds that include glam rock, hard rock, Americana, folk and jazz.  They haven’t disappointed us.

Dean is a guitarist of some note – equally comfortable playing a soaring solo as he is providing a grungy, distorted boogie rhythm; Gabriella sings with the voice of an angel, although she, too, isn’t averse to getting down ‘n’ dirty when the rocky circumstances demand it.  In Tinkertown, they’re joined by keyboardist and accordionist Elizabeth Steen, bassist Joe McMahon and guitarist Russell Chudnofsky.  And, since American Gothic was recorded, Chris Anzalone has joined – on drums.  It appears that Tinkertown are going to be around for some time to come and, on the evidence of American Gothic, that’s got to be good news.

It’s that awesome single, Red Eyes, that gets American Gothic off to a storming start.  Back in May, we described the song as “…thrusting, thrilling and delightfully fresh,” and that’s description we stand resolutely by.  Gabriella’s bright voice contrasts beautifully with the song’s solid boogie rhythm.  Joe McMahon is particularly outstanding – his bass whoops and swoops, and he isn’t afraid to hit the clangy higher notes whenever necessary.  The song rocks harder and harder the longer it goes on and Gabriella’s voice fills with anguish as she sings the climatic lines: “I’m out on the road, I want to go home, please leave me alone, I’m always so cold.”

American Gothic is a lyrical album.  Dean and Gabriella don’t shy away from tackling difficult issues and the points that they make are well-expressed – never more so than in Code Blue, a song that explores the ups and downs of a mother/daughter relationship.  Gabriella’s voice soars as she sings lines like: “Screw you – not a thing you can do.  I want to be alone in my room,” to a backing that is light and poppy, yet full-sounding.  Elizabeth’s accordion broods in the background and the band are red hot as they burst into the Celtic-flavoured breaks.

Along with the lyrics, it’s the sheer versatility of Tinkertown that makes American Gothic such a satisfying album and they exercise that versatility repeatedly.  Honey, You’re Killing Me is a slice of authentic 60s-sounding garage rock, complete with an insistent drumbeat and a driving bassline and, maybe it’s the mood of song, but I think a detect a Debbie Harry influence in Gabriella’s vocal delivery…

Brooding synth and a spidery guitar lick set the scene for American Gothic, the album’s sultry, simmering title track.  It’s a song that surges along relentlessly and Gabriella’s voice is filled with passion, especially as she reaches the “It’s not what it is, but it is what I see” payoff line.  And that versatility raises its head once more with the country-flavoured Poor Little Head Full Of Crazy, a song that’s in complete contrast to everything else on the album.  Dean and Gabriella sing in harmony whilst the soft, comforting backing is led by Elizabeth’s accordion; the drums are brushed and the guitars are softly strummed.  Contrast – see what I mean?

Next – a dash of swampy blues for Distracted, one of the album’s several standout tracks.  Guitars, including a fabulous ‘mewing’ tone, lead the way, whilst Elizabeth’s keyboards provide a soft, adequate bed.  Gabriella’s vocals are, once again, soaring and passionate and ghostly synth sounds add to the slightly unsettling mood of the song. 

Without doubt, the award for hardest rocker on the album goes to You Are A Fraud.  The guitars churn, whilst Elizabeth’s Wurlitzer brings a touch of San Francisco ’67 to the party, and even Gabriella – her voice normally so clear and angelic – subjects herself to a touch of distortion treatment. 

It takes a few seconds to realise it, but the opening lines of Soleil – “Whispering in my ear, though your words aren’t clear; I think you hear what I say, no-one can know what we do all day” – start to give the game away; the song is recital to a parakeet!  The lyrics are wonderfully intimate; indeed, it feels as though we’ve been privileged to sit in upon a private conversation, and the tune is as jazzy as it is poppy.  Piano and guitar intertwine nicely and Gabriella’s jazz inflections are spot-on.

Tinkertown’s interpretation of 60’s girl-group pop is laced with a heaviness that could never have been imagined way back when, and Gabriella’s voice takes on operatic tones for Waste Away, a song described as “A nod to a 60s girl group with a modern insight,” before the band break into Wallet Chain, the album’s sole instrumental track.  It’s funky, with gritty guitar and a tight, solid rhythm section providing the drive.  The slide guitar highlights suggest that Dean and the band might have been listening to Little Feat at some point, and I love the way that Elizabeth’s organ rises to the surface as the tune goes on.  It’s a chance for the band to show exactly what they’re about, and they don’t disappoint – and it sounds like they’re having a lot of fun, too.

After such variety, perhaps the best way to bring things to a close is with a simple, intimate ‘goodbye’ song, which is exactly what Tinkertown do, with Slip Away, the album’s final track.  It’s folky with a traditional – almost a nursery rhyme – feel.  Dean and Gabriella sing in harmony to a pared-down backing of softly-picked acoustic guitar.  Somehow, it feels like the perfect way to conclude an excellent album.

I’ve a feeling that we haven’t heard the last of Tinkertown…

Listen to Red Eyes – the album’s opening track and lead single – here:

Tinkertown online: Facebook / Bandcamp

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