It’s fair to say that domestic bliss doesn’t make for the most beguiling of musical subject matters – which is ironic as, broadly speaking, it’s the one thing we all have in common.
Since forming The Raconteurs with the Jacks White and Lawrence, and Patrick Keeler (the rhythm section of The Greenhornes), Brendan Benson has been an advocate of the small pleasures enabled by the quiet life. In a 2009 interview he extolled the virtues of cutting the grass (‘as satisfying as writing a song. More, sometimes.’), and his three solo albums in that period have all, to a lesser or greater extent, outlined such contentment.
There’s more of the same on Dear Life, and whilst his seventh solo album is being sold as a sonic departure, it’s actually business as usual.
This is apparent with even a cursory look at the tracklist: Richest Man Alive (‘I got two beautiful babies and one hell of a good-looking wife’) rollicks along and therefore saves itself from being too mawkish, while I’m In Love is repetitive lyrically in its 90 seconds but features moody chords that belie the subject matter.
It may seem obvious to reference The Raconteurs but seeing as they were largely responsible for Benson’s crossover it’s also valid, and Dear Life also acts well as a signpost for who does what: Half A Boy (Half A Man) features familiar guitar with a daytime radio friendly, big chorus, although with a more spindly beat. But you can practically hear Jack White on backing vocals, and the album as a whole demonstrates he’s the dominant force in that band.
The heavy drumming and brass section on the freewheeling Baby’s Eyes also bring to mind the supergroup’s instincts to go unashamedly Travelling Wilbury. The title-track features heavy brass too, but that only adds misleading cheer to a narrative about battling depression, one of a handful of references to the darker side of ‘normal’ life.
Of the new sounds that are being promoted, only four tracks deviate from Benson’s tried and tested swaggering rock formula. The taut opener I Can If You Want Me To features an increased BPM via electronica but swiftly reverts to type with an explosive guitar-driven chorus comprising simply the title line. Good To Be Alive sounds like Beck’s recent output as his voice gets auto-tuned but retains the familiar topsy-turvy melody he’s so fond of. I Quit melds some new grooves against a traditional acoustic sound, and lastly the dramatic closer Who’s Gonna Love You has snappy beats and effects and also a sample of what are, presumably, his children.
Kudos for at least nudging the boat out, but the best track on the album is also the simplest: Freak Out does exactly what it says on the tin, a fast-paced rocker akin to a slice from the Nuggets series with a jabbing guitar solo, the opportunity to let loose in the studio grabbed with both hands.
By Brendan Benson’s standards this is a modernist album, blessed with brevity and playfulness whilst still wearing his heart on his sleeve. And it’s always fun.
