4 out of 5

Label: Flameshovel

Produced by: Steve Albini

Two things always prevent me from putting on my Joan of Arse album: first is that horrible name; as either a play on the historical figure or the band, it’s woefully dumb, and certainly not matching the group’s more emotive sound.  Certain bands can pull off that dynamic, like Fuck, but whereas the brashness of their name sort of suits their half-smirking style, JoArse’s name is just… stupid.  Secondly, there are two tracks where the singer employs an embarrassing falsetto – the kind of vocalization that occurs when you’re trying to fake a high note you can’t reach.  The Allmusic review (which mentions the regular vocals and the high ones are two singers, but they sound like they could be one person to me) compares this singing style to Tiny Tim, suggesting it’s a purposeful affectation, but I hear it more as an unfortunate perceived necessity, that the group wanted some more range to their limited vocals, and it was determined this was the only way to achieve them.  Witness the uncomfortable transition from high to low on the ten minute At the Feet of St. Peter as some evidence of that: I think they’re trying to be taken seriously, and it’s hard to do so.  Thankfully St. Peter is such an epic track, and the bouncy guitar interplay makes the singing feel a bit more playful, so it works there.  On the quiet and contemplative A Spell Cast With Fingers, though, that’s not the case.  When the track comes on, if it’s your playlist, you just sort of guiltily look around and try to smile like it’ll get better.

I mean, it does.  The rest of the album is excellent, with interestingly odd narratives populating some short and to the point guitar rockers – like opener The Stares Are in the Galley, Sharpening Their Oars and The Bellringer’s Warning and Other Stories – and awesome build-ups to either impassioned gang vocals (Things Asleep in the Sun; Was Christ Among Us That Night) or guitar freakouts, such as on the afore-mentioned St. Peter.  Albini’s also much more than a gun for hire here, really bringing out a rawness to the recording that certainly helps stave off the judgements presented in the first paragraph from wholly overtaking your opinion.

Having toured with Low and Grandaddy, with artwork by Zak Sally, you might be expecting something a bit folkier or less restless on Distant Hearts.  And if I just played you that falsetto track, your expectations would be met.  But everywhere else on the disc, Joan of Arse proves their mettle with patient and rocking compositions and interesting lyrical stories to tell.