The Handsome Family

Honey Moon

(Carrot Top)

Record Review by Alex Pudlin

Remember when smug music critics called alt-country “alt.country”? That was back when Wilco used banjos and the Jayhawks made good songs. Most of the other early '90s alt-country groups have fizzled away by now. One notable exception is Chicago's The Handsome Family. Despite a slight dip in quality, The Handsome Family has for the most part maintained a sound and purpose through the years. Their latest, Honey Moon, feels more timeless than nostalgic thanks to shrewd instrumentation, Brett Sparks’ always-impressive quivering baritone and wife/bassist Rennie Sparks’ equally quirky and terrifying lyrics.

Many of the tunes here plod along in a 3/4 time signature, seeping from the speakers with an organic yet somewhat theatrical pulse. Songs like “The Loneliness of Magnets” veer towards state-fair gypsy showmanship, as a whistled intro, creepy sci-fi lyrics, jazzy guitar licks and brushed drums enhance the mystique. On “My Friend,” Sparks shows that his voice is not confined to the lower registers.  Over a church organ Sparks vacillates between bass and near-tenor frequencies. Similarly, Sparks attacks the strong central melody of “A Thousand Diamond Rings,” with a soulful purr that many other alt-country singers could never muster. Indeed, Brett Sparks possesses a voice that subtly fuses the horror of Tom Waits’ growl, the ominous authority of Johnny Cash’s warble, and the inner monologues of Kurt Wagner into something entirely his own.

Although Honey Moon’s pace often grinds from track-to-track, a few strategically placed numbers vary the mood enough to keep you invested. Rennie Sparks’ bass playing on “The Petrified Forest” gives the track a near-groove, while album closer “The Winding Corn Maze” sounds like what may’ve happened had the Man in Black covered Radiohead on one of those America albums. Yet, despite the aforementioned strengths, a few tracks (“June Bugs,” “When You Whispered,” “Darling, My Darling") display proficiency but little creativity. These are the type of mood killers that you’d expect to occupy alt-country veterans’ ninth album. Not bad, but definitely filler. Fortunately, Honey Moon contains a high ratio of memorable to unmemorable numbers. Nonetheless, the inclusion of a few dullards is a bit frustrating since their omission could’ve left Honey Moon a more cohesive whole, and maybe even a modern-day alt-country classic. Now, not quite.