The Lobster Quadrille
Self-Titled
(Self-Released, 2009)

Though the preacher-as-satire now ranks high among rock and roll’s most tired cliches, the Lobster Quadrille proves that the crossroads where rock music meets the tent-revival might still be fertile ground after all. Where other, seemingly likeminded acts are perfectly content to mine Southern Baptist aesthetics for their kitsch value, the Lobster Quadrille’s faux-religious aura radiates a gravitas that gives thematic weight to the band’s distinct blend of bluegrass, rockabilly, country, backwoods folk, gospel, and rock. That’s because, contrary to outward appearances, bandleader Solomon Blaylock doesn’t play the religion card as shtick. Even as he goes over the top in his caricature-like representation of a preacher, he manages to hit subtle dramatic notes that elevate the band’s performances above their more apparent entertainment value.

Don’t let the sepia tones fool you. The Lobster Quadrille before its recent lineup expansion. Left-to-right: Kevin Farrell, Lauren Manitsas, Solomon Blaylock (standing), Mark Berends, Amber McAlister (standing), Amy McDonald, Keith Rosengren. (Photo: Marc Bollmann)

Blaylock strikes a fine balance between parody for laughs and irony as a vehicle for scathing social critique. His sordid, obscenity-laced sermonizing and stark-raving mannerisms belie deeper feelings of anger and rejection that come into vivid relief under the light of his and bandmate/spouse Amber McAlister’s personal experiences with excommunication. Throw in the fact that Blaylock grew up in Georgia, presumably no stranger to characters like the one he plays onstage, and suddenly the music crackles with credibility, intent, and – perhaps most importantly – the shadowy activity of real-life demons. Bill Maher can chuckle when he lampoons Christianity because he can afford to; for Blaylock and McAlister, there’s actually something at stake.

Live, the Lobster Quadrille – which at the time of this recording consisted of seven members but has since expanded – summons a formidable, muscular sound with a high measure of precision and command. In fact, it’s the band’s ability to pull back that ultimately puts a stronger accent on its aggressive side. By contrast, producer/recording engineer Nic Marinaccio’s mix presents the music as if it’s coming through an old transistor radio. That approach certainly has its appeal, but it overshoots the mark. It’s something of a misrepresentation to play-up the Lobster Quadrille as old-timey and quaint. Marinaccio’s production, for example, inadvertently flattens the band’s range and forces its sense of humor into the foreground, where it becomes too magnified to convey its intended message. Even with a sharp-tongued delivery, Blaylock’s lyrics get reduced to toothless tongue-twisters drained of the venom that gives them bite.

Clarinetist Amy McDonald perhaps benefits the most from this treatment, as it allows her plenty of room to shine where she might otherwise get swept in the rest of the band’s dense live roar. But the versatility and lustre of Blaylock’s guitarwork – which goes from sunny and idyllic on “Magnolia Trees” to full-on Ramones-style punk on “Chop! Chop!” – eludes being captured. As does the full heft, drive, and flexibility of Kevin Farrell and Mark Berends’ tandem work on bass and drums. On the other hand, the group vocals and busy, saloon-like atmospheres allow the music to unfold with the unassuming charm of sketch comedy. Still, Blaylock’s yen for spinning tales of debauchery with tongue fimly planted in cheek makes it too easy to take the Lobster Quadrille as little more than Southern Gothic parody – or worse, a joke – when there’s actually so much more going on.

Judging from the freewheeling mood of the performances, the band clearly had a good time making this album. Likewise, listeners looking to fish for the unsavory nuggets lurking in the lyrics should also expect to have fun. But if the Lobster Quadrille can somehow carry its balancing act into the studio, then its provocative edge can actually be bolstered – rather than obscured by – its sense of humor. Like any artist who engages in role-play, Blaylock treads a dangerous line. Not only is the character he plays confining by nature, but every time he gets into costume he runs a greater risk of that character becoming real and/or taking the music hostage. Sooner or later, Blaylock and company are going to have to confront the creative implications of the group persona they created. Hopefully they’ll be able to take their next stab at recording while their imagination is still going strong. Hopefully they’ll work with someone doesn’t try to make a literal sonic translation of the band’s sepia-toned image. For now, though, this album might best serve as an encouraging sign of things to come. Or a pleasant change of pace from the Lobster Quadrille’s rollicking live show. (Saby Reyes-Kulkarni)

Where and When:

The Lobster Quadrille appears Friday, November 13th, at Monty’s Krown, 875 Monroe Avenue. Also on the bill is Peachy Nietzsches, in its first appearance in almost two years.

Showtime is approx 9pm. (Note that the Facebook invite says 8pm but that shows typically don’t start that early at the Krown.) 21+over, $5.

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Related Articles:

• http://www.rochestercitynewspaper.com/archives/2006/06/The-Lobster-Quadrille-doesnt-need/

Links:

• http://www.thelobsterquadrille.com
• http://www.myspace.com/thelobsterquadrilleband
• http://www.facebook.com/group.php?gid=2200203325#/pages/The-Lobster-Quadrille/97672555989?ref=search&sid=661566090.970407914..1