CAITLIN & BRENT – S/T

Artists fall, but they also rise. Caitlin & Brent is the joining of like-minded artists who are pretty disparate from one another. At times, it’s the differences between people that could be the catalyst for something extraordinary as they blend and create song structures others may not have thought of, and/or not of any deliberate actions. That would be Caitlin Sherman and Brent Amaker, an unlikely duo who created an album penned with distinct signatures.

There are artists that have been noted, because of their clear artistry; Simon & Garfunkel, Nancy Sinatra & Lee Hazelwood, and Sinatra and Jobim, considering for this self-titled (Rodeo Corp LTD.) release, both artists drew inspiration from 60s French pop. But you might hear much more than that. An off-the-cuff comparison needs to be offered here, and while the style of music here couldn’t be any more different than what they recorded so many decades ago, just like Marvin Gaye and & Tammi Terrell, Catilin & Brent’s vocal harmonies are lovingly captivating in just the same way. That’s the only similarity as yes, they’re so musically different from one another. They’re simply so in tune with one another, it’s hard to imagine both not creating music with one another. Brent’s baritone is soothing underneath Caitlin’s sultry delivery. “Pleasure In The Pain” displays it as both sing along with one another, doubling up on the lead and on the chorus. Strings sway in the background as keys & guitars create an ambiance, with a build-up that moves mountains.

The poppy endurance of “Night Call” seems to move in varying directions, driven mostly by keyboards, strings, and electronics as it slides with effortless nostalgia thrown within the mix. Caitlin’s voice is sometimes dramatic, offset by Brent’s on the chorus, but it’s the harmonies, those damned harmonies, that draw listeners right in. Make no mistake though, the underlying bassline has a lot to do with it as well, on the verses and the chorus. Just a few notes and you’re hooked right in. Now, while strings have been mentioned, the album is filled with arrangements that have them fall to the background, but “Mirage” opens with dominating effect. They’re soon overpowered by a haunting bassline, cheerful xylophones, and more key strokes. Here, the band’s sound is much more contemporary but still living off the fringes, and that’s fine as Caitlin’s voice soothes the savage beasts throughout.

There is a method to Caitlin & Brent’s madness though, and while not every song captures it the band’s sound rattles around where chamber pop meets a country/americana-esque world. While “Silver Screen” may have semblances of each, with strings wrapped around it and its punchy rhythm, it’s the lyricism that forces you to pay attention as both vocalists volley back and forth around golden age movie star couplings as they question “Who will play us in a film/ Who’s gonna play us in a film”? The duo reeks of nostalgia, born into an era much too late, but we should be thankful they weren’t, and they’re right here, right now.

If you haven’t guessed it by now, this self-titled release by Caitlin & Brent touches on a musicality that hasn’t been touched on. If you think they’re derivative, you might think again and know they’re derivative unto themselves. This album is brilliant, and there’s no turning back now.