New England breeds addictive rock bands like the South rears beauty queens. Phish, the Pixies and Dinosaur Jr. are just some of the primary figures to emerge out of the Northeast and onto college radio. Soon to join the ranks of these innovative Yankee rockers is the Maine quintet, Spouse.
Composed of Jose Ayerve, main vocalist and guitar; Liz Bustamante, keyboards and synths; Naomi Hamby, guitar and glockenspiel; Michael Merenda Jr., drums and banjo; and Daniel Pollard, bass, Spouse produces the mature, thoughtful pop rock that seemed to disappear with the exit of The Smashing Pumpkins. The band’s fourth release with Pigeon Records in January, “Love Can’t Save This Love,” demonstrates Spouse’s seamless combination of direct, catchy lyrics and mindful, understated music.
Despite Spouse’s seemingly minimal sound, several elements go into making “Love Can’t Save This Love” a praise-worthy album. Ayerve’s aching voice, stressful and passive, has an inviting raspyness that textures the unobtrusive instrumentals. Additionally, almost every track has at least three melodies overlapping, creating rich tunes that are still restrained. All the musicians prove talented and humble, allowing the songs to waver in emotional limbo. No track is definitively depressing or energizing because of Spouse’s poised performances.
The unfussy nature of the band’s music should not mislead listeners to assume a valium-induced compilation of flat, cyclical tunes. There are several songs on “Love Can’t … ” that stick to the middle ear because of inviting instrumentals. “Catch 22” features Merenda, Jr. carrying the entire track with his impressive banjo. That layer of bluegrass makes the song. He also contributes throughout the album with his drum performances on tracks 1, 3 and 6. Another musical gem is the frantic guitar intro on “Seven” providing an electronic mariachi feel underneath Spanish lyrics.
Spouse’s lyrical contributor Alisha Goldblatt will make people put the CD on repeat in the car. Like lines from “Sad Not Trashed,” “Every corner of the room is at a dead-tie with the clock/ When we finally get our courage up we are both too drunk to f***” are delivered so delicately it never sounds crude, just honest. In “Catch 22” Ayerve sings, “I was running out of space for all the things I need to do/ You were telling me to stop while I was telling you the truth/ You can’t believe I was the one that got away/ I can’t believe I was the one who had to stay/ So Long.” The lines are linked sharply together with articulate vocals.
At times the album catches on Ayerve’s abrasive voice and it becomes very Bono-like. The album’s pace does lack at times.
Spouse has to take a few more steps toward bringing other members, besides Ayerve, into the spotlight. They can amplify with a few complex solos without losing the appealing laid back composure
But, Spouse is a promising band. They already have stepped up to college radio and are becoming an easy favorite in the Northeast. “Love Can’t Save This Love” is a shiny nugget of indie-pop gold that fits perfectly into the long-vacant prongs of thoughtful, intimate rock.