Hayden
Skyscraper National Park
[Badman; 2002]
Rating: 8.2
In terms of population, Canada (31 million) has New York (8 million) beat by a
long shot. But in an ode to the capitalist spirit of efficiency, New Yorkers have
accomplished a stunning feat of people-packing; while Canadians bogart a whopping
3.8 million square miles of the continent, New Yorkers shoehorn themselves into a
mere 320. That's 25,000 New Yorkers per square mile versus a lonely 8 per square
mile in the Great White North. For New Yorkers, this means doubling-up, living in
closets, and moving to Hoboken. For Canadians, it means just the opposite:
solitude. And a plethora of moose (one of which stars on Hayden's album cover).
Canadian Hayden Desser's sounds of solitude have captured the ears of sad-core
indie-folk fans ever since his debut LP, Everything I Long For, was
released in 1996. The album, recorded on a four-track at his parent's house, was
notable for its contrast of wistful tenderness and snarling anger, and of course,
Hayden's striking baritone. On its follow-up, The Closer I Get, Hayden had
less to growl about, but just as much to long for, finding its high points with
"Two Doors" and "Between Us to Hold."
Now, after a three-year hiatus, Hayden has returned with his third LP, Skyscraper
National Park. The album casts Hayden as older, wiser and more reflective.
Hayden is still a man steeped in his own sensitivity, but he's changed a bit with
age. Youthful, idealistic romance has grown into love, hopefulness into doubt,
and anger into distance. Accompanying his maturity is a newfound and uncanny
sense of restraint that both binds the disc and renders his passion haunting and
compelling. Not once does Hayden burst into a growl. Instead, the album is marked
by frequent reliance on a simple falsetto.
Hayden's progression is apparent from the opening chords of "Street Car," faint
and filtered, with audible squeaks and shimmers of Hayden's fingers on the
fretboard of his 12-string. A piano joins only on downbeats, and both play an
ideal forum for Hayden's forlorn lyrics: "Parked underground the night you left/
It took me an hour and a half/ To find my way back up above/ There's nothing up
there without your love."
"Dynamite Walls" is as close Hayden has come to perfecting his craft. The song
features an uptempo beat (for Hayden) and a full band, dwelling on fresh, spacious
instrumentation and a subdued melody, until it releases into a magnificent
crescendo. The lyrics, including the chorus ("Miles away, just up ahead/ It
doesn't matter just what/ Any of us is looking for/ We'll never find it because/
It's not even there") are a shockingly precise complement to the music, conjuring
images of driving through open spaces and mountain air. After "Dynamite Walls,"
Skyscraper National Park levels into a sonic consistency of subdued
melodies and sparse instrumentation.
"All in One Move" is one of cheeriest tunes on the album, so much so that it can
properly be called a "tune." Not surprisingly for sad-man Hayden, at about one
minute in length, it's also the shortest song on the disc. So before he manages
to lift himself out of depression, he regresses into "Bass Song," featuring lyrics
as genial and optimistic as, "I couldn't find shit/ So I grabbed my bass guitar by
the neck/ And held it above me/ And hid by the top of the stairs and that's where
I was found/ Five days after I hit the ground."
Hayden closes the album nicely with "Lullaby," less melody-focused than the rest
of the album, and more akin to the mood music of such slow-core stalwarts as Low
and Idaho. On it, Hayden beckons his beloved to "close your eyes and think about/
What you can't live without." The invitation is as appropriate to the listener as
to his lover. It is what it says-- a lullaby-- fading peacefully into sleep.
Although its best moments don't reach quite the altitudes of his prior releases,
Skyscraper National Park, as a whole, is the most complete and coherent
album in Hayden's catalog, a delightful listen from track one through track eleven.
The union of his established songwriting talent with his poignant maturity and
restraint make Skyscraper National Park convincing, powerful, and well
worth purchasing.
-Brad Haywood, January 18th, 2002