(2010, Autumn Records)
RIYL = Scott Tuma, Spenking, Sung Tongs
Following up his absolutely amazing schizo noise-pop debut, Spiritual Sci-fi, Kurt Weisman returns with a much more quaint, airy album on his sophomore effort. Gone are the knob twiddled, hiccupping electronics; this time around Weisman has gone solo acoustic, with Orange being blessed primarily by his tiny voice and acoustic guitar. However, if you are expecting all the dulled pleasantries that we classically associate with acoustic singer songwriters, you are in for a surprise (and it is certainly a pleasant one). On Orange, Weisman’s guitar noodles about, almost at will, often breaching into the awkwardly (read: wonderfully) atonal areas. “Atonal” may be a stretch, but this definitely isn’t some Nick Drake or Elliott Smith musing. Weisman’s sound seems most aptly described by that achingly obsolete “freak folk” tag. Think early Devendra Banheart or the drone-folk guitar work of Scott Tuma and you’ll be a lot closer. While I must admit that it was difficult to see the skittery electronic touches of Spiritual Sci-fi removed on Orange, repeated listens have revealed that Weisman has tapped into something deeper; an elusive song writing core that multiplies the spoils Orange far beyond that of your average or even above average folk albums. Weisman’s understated follow-up is certainly a treasure trove of musical gems in its own right and reveals that Weisman is only going to get better and better.