Ted Leo, indie rock’s favorite palimpsest, has made a name for himself playing in such highly touted outfits such as the hardcore Citizens Arrest, the DC-mod-rocking Chisel, The Spinanes, Secret Stars and the short lived Sin Eaters. He has recently strutted his falsetto as a solo artist, first with lo-fi experimental pop under the horribly pretentious name Tejleo(?),RX,Pharmacists(s), and now as Ted Leo/Pharmacists. The Tyranny of Distance is destined to be his most highly-touted record yet -- and yes, even I will assume a toutatious stance. How could I not? Even though I approached this record with an indescribably blasé attitude, after a few listens I began to really appreciate Leo’s musicianship and songwriting, which is catchy yet thoughtful and personal without being megalomaniacal or pitiful.
While Leo still claims to subscribe to punk philosophy, the pure pop of Tyranny of Distance sticks out like a third thumb in the Lookout Records lineup, which is famous for poppy punks like Screeching Weasel (I bet at least one person in your high school had that damn shirt). Tyranny... is far more complex and mature, incorporating cellos, smart song structures and adult themes. Leo’s backing band includes such other well-touted musicians as James Canty (The Makeup), Seb Thomson (Trans Am) and producer/Fugazi drummer Brendan Canty. Their performance and production match their energy and clarity, creating a perfect mix.
"Timorous Me", while rocking incredibly hard and containing one of the coolest guitar riffs I’ve heard in months (half Irish Jig, half Jimmy Page), also packs enough sentimentality to earn its place as the mod equivalent of "Jack and Diane". Leo reminisces first about a childhood friend who has fallen out of his life, then about a female fan for whom he falls, then never sees again: "But I watched her sing along with every word, in the prettiest voices that I never heard, and I see her dancing wearin’ my shirt." At first this seems a bit self-involved, but look a little deeper and you find an adorable song about the barriers of time, communication and ego. The hero ends up with a mutually quiet, equally pensive companion. Cute? Yes. Punk? No.
The opener, "Biomusicality", and the rocker "Stove by a Whale" both utilize water imagery, (which is also the premise for all the album's artwork) in conjunction with metaphors about life: "Had we never come across the vastness of pavement, the barrenness of waves and the grayness of the sea" and "The distance keeps us safe from waves of subconscious problems that our governments and our accents and our parents have us swimmen’ in until all that sin has soaked us through and through."
The rest of the album ranges from straight up pop rock to psychedelic mod jams, throwing in a pretty acoustic ballad for good measure.
While not perfect (see the annoying "My Vien Ilin"), The Tyranny of Distance will appease many a music fan, providing both the instant gratification of a powerful rock song and the intellectual stimulation of meaningful lyrics that reveal their depth over time. So I’d say "Come for the food, stay for the pie." Or maybe "Come for the bread, stay for the wine." There are already tons of people on the web gushing big words about this album being the best of the year, about Leo being a savior of music, and so on -- and while I wouldn't go that far, you may want to see what the buzz is about. At worst, you’ll get a thoroughly enjoyable pop album full of songs that will get stuck your head. Amidst all this touting, I guess Ted Leo does have good reason to tout himself after all. Tout on, Ted!
