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Rock - Released November 1, 2019 | Mama Bird Recording Co.

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Alternative & Indie - Released January 1, 2005 | Dicristina Stair Builders

San Francisco's Vetiver (which is a sweet kind of Indian grass that now grows in California) is the brainchild of songwriter Andy Cabic (Simple Machines). Vetiver began as a trio featuring Cabic singing and playing guitar and banjo with cellist Alissa Anderson and violinist Jim Gaylord. Savant folk prodigy Devendra Banhart joined in 2003, adding a second guitar to the mix. Produced by Cabic with Thom Monahan, Vetiver's self-titled debut is a stark yet lovely affair of shimmering acoustic melodies and intimate songs that don't mope but gush with a kind of blissful grace. Other instruments such as bass, piano, harp, and even drums are added on select tracks. The breezy, lilting textures created by the plucked and bowed strings are startling for their sonorities and timeless, shimmering resonances. Cabic's thin, reedy voice (which in some places -- "Amour Fou" is a case in point -- is reminiscent of Marc Bolan's hippy mystic period) seems to float between them rather than on top of them, and his songs, with their old-world rootsiness, are equal parts Stephen Foster, folk-blues, underground Southern music á la Norman Blake, and just the right modicum of indie emotionalism. It makes for a beautifully odd concoction. Banhart is on board as a guitarist here, so none of his quirkiness is evident in the band's sound. But his backing vocals add a kind of radiant, somewhat otherworldly depth to the proceedings. This is an impressive, summery debut that is worth not only seeking out, but also playing until you can whistle along to it. Standout tracks include the aforementioned "Amour Fou," "Amerellie," "Luna Sea," "Belles," and "Oh Papa." ~ Thom Jurek
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Alternative & Indie - Released March 24, 2015 | Easy Sound Recording Company

Starting in 2009 with their album Tight Knit, it's become more and more difficult to hear the pastoral, folky beginnings of Vetiver in their music. That album was a slickly made pop confection and 2011's The Errant Charm drew heavily from '70s soft rock, resulting in something even more easy to digest and also easier to imagine coming from the speakers in the waiting rooms of slightly hip dentists and insurance agents around the nation. Andy Cabic and his main collaborator Thom Monahan continue their quest to chart the ship for the smoothest waters possible on Complete Strangers. Even more than the past two albums, this one has all the rough edges delicately sanded off and then re-covered with the slickest materials possible, whether they are backing vocals that feel like they've been lifted from an Atlanta Rhythm Section album, gentle electronic washes and clipped drum machines, or guitars that are layered so tightly that you couldn't slip one of Stevie Nicks' scarves through them. It makes for an album that's easy to swallow, but hard to taste. The duo's desire to strip the music of all energy leaves the songs limp, unable to make an impression in an age when songs are screaming for attention everywhere you turn. Maybe that was the plan, to create a tiny world of peace and calm, where the cares of the day are swept away by the quietly undulating waves of song and Cabic's drowsy vocals. The problem is that without any emotion, even a shred, in the vocals to latch onto or any hooks in the songs to grab you, it makes for a dull, lazy voyage. A couple tracks even feel like they were made to be listened to on a boat ("Current Carry") or a beach ("Time Flies By"), and that's just not where Vetiver ought to be found. Only a couple songs have any of the woozy energy or imagination that made previous albums a treat to listen to: "Stranger Still," which opens the album with an epic-length electropop flash of energy that is sadly discarded as soon as the song fades out; and the chiming folk-rocker "Loose Ends," which arrives halfway through to give the listener a welcome slap. Other than those two tracks, the rest of the album is sleepy enough that even legendarily mellow dude Jack Johnson would get bored halfway through and start looking for something a little zippier. A more balanced feel, a few songs with memorable hooks, some passion from Cabic, arrangements that aren't stifling -- these are the things the album lacks and desperately needs. It's always tough to see a band as consistently good as Vetiver take a stumble; one can only hope they can recover from this slumbering disaster next time out. ~ Tim Sendra
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Rock - Released October 9, 2019 | Mama Bird Recording Co.

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Alternative & Indie - Released March 23, 2015 | Easy Label Recording Company

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Alternative & Indie - Released June 13, 2011 | Sub Pop Records

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Alternative & Indie - Released February 17, 2009 | Sub Pop Records

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Rock - Released September 18, 2019 | Mama Bird Recording Co.

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Alternative & Indie - Released May 13, 2008 | Gnomonsong

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Alternative & Indie - Released November 11, 2008 | Gnomonsong

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Rock - Released August 28, 2019 | Mama Bird Recording Co.

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Electronic/Dance - Released August 12, 2016 | Easy Sound Recording Company

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Alternative & Indie - Released January 29, 2008 | Gnomonsong

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Alternative & Indie - Released May 23, 2006 | Dicristina Stair Builders

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Alternative & Indie - Released June 14, 2005 | Dicristina Stair Builders

The acoustic alt-pop outfit Vetiver is essentially a one-man band, as a gentleman named Andy Cabic handles the songwriting, singing, and guitar-strumming responsibilities. Rather than following up Vetiver's 2005 self-titled debut with another full-length, the San Francisco-based outfit opted to issue a five-song EP next, 2006's Between. It appears to be a mini "odds and sods" deal, as Between contains three tracks that were recorded at Cabic's home ("Been So Long," "Save Me a Place," and a "Brokedown Version" of "Busted"), plus a track recorded live on-stage ("Maureen") and another taken from a taping at radio station WMBR ("Belles"). Although all the tracks were recorded in the early 21st century, there is an unmistakable '60s folk vibe that carries throughout all the tracks. In fact, Tim Buckley's early acoustic direction (especially circa 1966's Tim Buckley) is a fair comparison to such tracks as "Been So Long" and "Belles," from both a musical and vocal standpoint. Between may come off sounding "retro," but making music that sounds like the renowned acoustic-based artists of yesteryear certainly isn't one of Cabic's main priorities -- rather, his principal strengths lie in penning tunes that manage to be fragile, stripped-down, and engrossing. ~ Greg Prato
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Alternative & Indie - Released December 9, 2008 | Gnomonsong

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Alternative & Indie - Released April 8, 2016 | Easy Sound Recording Company