Magnolia Electric Co. - What Comes After the Blues

When I decide that I want to review a new album, there are two obstacles that work against me. The first is that I feel forced to listen to the album a lot, maybe every time I’m in my car or sitting at my computer. Sometimes, this can cause me to appreciate an album more with each listen. Other times, I feel bogged down by responsibility. Maybe I should lighten up.

The second obstacle is trying to avoid reading other reviews of the album in question. I pretty much only read album reviews at pitchforkmedia.com, The Onion’s A.V. Club, and Paste. All offer insightful reviews with varying tastes, but I want any review I write to be untainted by other articles I’ve read. In the case of What Comes After the Blues the newest album from Magnolia Electric Co., I slipped. This slip is apparent because both reviews mentioned lead singer Jason Molina’s love of Neil Young. While What Comes After the Blues certainly does channel Young at times, I’m not sure I would’ve thought of this similarity on my own. I’ll soldier on anyway.

Magnolia Electric Co. is actually the new band name for Songs:Ohia. Songs:Ohia’s last album, the album that introduced me to Molina’s fragile voice and spacious composition, was entitled Magnolia Electric Co.. To clarify, Songs:Ohia renamed their band after one of their albums. The name change is appropriate, because What Comes After the Blues seems like a sequel to Magnolia Electric Co.. Song length, instrumentation, the title, and even some of the exact same guitar fills make the latest album seem like a follow-up. The main lyrical themes tread the same ground as most country-rock bands: the open road, love lost and found, even Biblical imagery.

Overall, What Comes After the Blues falls short of Magnolia Electric Co.’s scope and cohesion. Molina excels at making his albums flow, but the pace seems off. Molina’s aforementioned love of Neil Young shows especially on the first two songs: the guitar intro of “The Dark Don’t Hide It” and the harmonizing on “Night Shift Lullaby”, which seems to recall Young’s days with both Linda Rondstadt and Crosby, Stills and Nash.

Despite it’s low points, Molina’s talent shines especially on “Hard to Love a Man”, “Northstar Blues”, and his ability as a polished-but-not-too-polished songsmith are apparent. “The Dark Don’t Hide It” is one of Molina’s catchiest songs, swirling around a great chorus and lines like “Now the world was empty on the day that they made it/But Heaven needed some place to throw all the sh**/Human hearts and pain should never be separate/They wouldn’t tear themselves apart, both trying to fit”.

I hate to end this review on such a contrite note, but if you’re a fan of the alt-country/americana/no depression/whatever-it’s-called genre and haven’t heard Jason Molina’s offerings, you’re missing out. I suggest Songs:Ohia’s Magnolia Electric Co. first, but Magnolia Electric Co.’s What Comes After the Blues is a great follow-up buy. Or download. Who knows how you kids are getting your music these days?

Magnolia Electric Co., What Comes After the Blues: B-

Jordan Green can remember buying his first Songs:Ohia album at Music Millenium on East Burnside. Now, he typically buys his albums off of iTunes, but secretly hates himself for doing so. Viva independent record stores!

Posted on April 10, 2005 12:41 PM