Surging forth with invigorating
immediacy and infectious exuberance, Shane Turner Overdrive’s self-titled debut
bears all the signs of a first album that’s been a long time coming.
Indeed, multi-instrumentalist Shane
Turner first conceived of his solo project upon moving to Vancouver eight years
ago. However, the venture was quickly relegated to the backburner when Turner
found every available moment dedicated to his multitude of other musical
undertakings. As a member of Love and Mathematics, Woodpigeon and The Salteens
(Boompa Records), Memphis (Paper Bag Records), Sparrow (Absolutely Kosher
Records),The Choir Practice and Fanshaw (Mint Records), Turner quickly
established himself as one of Vancouver’s busiest and most versatile players. Over
the years he has found himself on stage with various band-mates opening for
such acts as: Jarvis Cocker, Antony and The Johnsons, Crooked Fingers, Spiral
Stairs, Nada Surf, Appleseed Cast, Okkervil River and many others.
When Love and Mathematics and The Choir
Practice (two projects that reacquainted Turner with the pleasures of
songwriting) went on hiatus in 2008, the musician was finally able to devote
his full attention to Shane Turner Overdrive. In 2009, the opportunity to
collaborate with Vancouver “pop maestro” Jay Arner (Fine Mist, International
Falls) arose and Turner set about penning material for his solo project’s first
album.
As a traditionalist still inclined to
listening to entire albums rather than cherry-picking individual tracks, Turner
endeavored to write a cohesive cycle of complementary songs. In other words: A
record that he himself would listen to. Accomplished songs that couldn’t find
their place in the running order were left at the wayside. One track was
ultimately divided in two in order to provide stylistic bookends for the
record. Shorter, chord organ songs were appointed at regular intervals to lend
a rhythm to the running order. Beats were tweaked to create a natural momentum
and flow. Finally, carefully considered lyrics unified the songs thematically.
Turner’s next order of business was to
bring drummer (and cousin) Kyle Koenig into the fold. Having played with Koenig
since he was thirteen years old, Turner knew that their musical rapport would
allow the album to be recorded live off the floor. Furthermore, Koenig’s unique
combination of technical precision and gregarious energy were ideally suited to
the new material.
After holing up in his rehearsal space
with Koenig, Arner, Ian Somers (Love and Mathematics) and vocalists Olivia
Fetherstonhaugh (Fanshaw) and Johnny Payne (The Shilohs), Shane Turner
Overdrive’s long-gestating debut album was finally born. Operating under the
influence of No Age, Sebadoh and Guided by Voices, the collaborators relied on
first takes (charming mistakes and all) and avoided overdubs whenever possible.
The result is thirteen
rough-around-the-edges pop gems that unfold in a whirlwind twenty-five minutes.
Whether it’s the propulsive “Wigs,” soaring “Taped on Walls” or low-key “Libra
Tapes,” Turner proves adept at penning pop songs of every stripe. Meanwhile,
the melancholy clearly evident in companion vignettes “Cyril Sneer” and
“Cedrick Sneer” (two of the disc’s chord organ offerings) reaches aching
fruition on closer “Weird Death.” While Turner’s enigmatic lyrics touch upon
the personal hardships he was dealing with during the album’s conception, his
mellifluous vocals and knack for shimmering melodies capably sugar the pill.