Why in the world aren’t more people talking about The Bittersweets? They’re from the Bay Area, but their debut record The Life You Always Wanted sounds much more like it came from Nashville. And, in my book, it matches up favorably with the best roots/Americana records of the last decade.
To be fair, this is not a record that will change the world – it is just crisp melodies with jangly guitars and songs about love, long nights on highways, and hope for forgiveness. Most of them are quick-paced and light on their feet, but they toss in a couple slower numbers to give you a change of scenery. And if they don’t delve too far into the deeper meanings of life, that simplicity is part of the charm.
In all of this, their name could not be more apt. Happy songs about sad things, a bit of light that holds back the darkness, someone to hold onto when times are tough – these were already cliches long before Springsteen turned them into an entire ethos. But if they are cliches, it is only because life itself is bittersweet, and these simple truths are part of what binds us together.
It gets you right out of the gate with “When the World Ends,” a gentle rocker that gives singer Hannah Prater full room to show off her twang (think a poppier Alison Krauss), and really kicks into gear with “Adam,” which somehow manages to sound both gritty and tender at the same time.
The real jewel of the record, however, is “Long Day,” which encapsulates everything great about the band: a fantastic melody, vocals that ache but never give up, perfectly placed backing instruments, and a chorus to die for.
The rest of the first half is almost as good. The rollicking “Houston” gives songwriter and guitarist Chris Meyers a chance to sing lead as they romp through the stories of lives lived in not-so-quiet desperation. And it closes with “Mostly Happy People,” which calls to mind my other favorite Americana artist this year: Rosanne Cash.
Unfortunately, a weak second half prevents this from being a true classic, but even without standouts, the back end is pleasant enough, and they bring it all back together for the lighters-in-the-air send-off “And Death Shall Have No Dominion.”