Album Review: Poison Tree

The Poison Tree - The Poison Tree

Editor’s Note: DeadJournalist.com welcomes Eric Wildes to the fold as one of our new contributors in 2011. You’ll find that his attention to detail – and understanding of the process from a musician’s viewpoint – adds depth to his writing. We’re damn glad to have him.

Album Review: Poison Tree – Poison Tree
by Eric Wildes

Brooklyn’s Poison Tree recently released their debut album. Not being familiar with his earlier work, I had no idea what to expect from the crew assembled by Steve Salett. However, since this is the first album I’ve reviewed, I was happy to have a blank slate.

I imagine someone enjoying this indie/folk album while drinking a fine wine on dilapidated back deck or wearing a Leonard Cohen concert t-shirt under a fine suit. I’m not sure if there is such a thing as a Leonard Cohen concert t-shirt, but my point is it mixes a classic feel with a spritz of rustic adornments.

“C’mon C’mon” is the first track and I was immediately impressed with Salett’s voice. It is distinct, but not contrived.  This tune is simplistic and catchy, but features an intensely dramatic bridge. It is exceptional.

“Welcome to the Neighborhood” sounds at first like it should be in a romantic comedy of the early 2000’s or late 90’s complete with a stylish little horn adornment and a whimsical whistling part. Once I struggled past the initial imagery of Jennifer Anniston on a movie poster with Harry Connick Jr., I was relieved. As I listened longer, I enjoyed it. The sardonic lyrics and minor key are powerful enough to steer it safely away from being a mistake.

“Never Know Me” has a dapple of moderately experimental voice echoes and a few ambient strokes
-though almost hidden. This song also effectively serves as a change up by varying the tempo that is, at other times, mostly similar.

“Caught” is a relatively predictable for my taste despite being chocked full of clever imagery.  

“The Lights Around You” is another folk-ish song that briefly employs a backing siren crew, and stylish strings. This is exceptionally well-written song.

“Little Moth” is an ebullient interlude with more whistling and acoustic guitar- briefly sweet.

The final three are where this otherwise gem starts to lose its luster for me.

“Wake Up” starts darkly tempting, but quickly slides into whimsical romp with hooky turns. I like that it cuts loose a bit (and has an unexpected “Princess and the Pea” allusion) but wish it could be wilder or darker (or both).

“Lesson for You Kid” is appealing, but is a bit of an under thrust to me in the senses that it goes away from the endearing formula. It too has the surgically precise song crafting, but does not mix elements as well.  

“Mirror Door” is a piano based song that is lyrically creative. While it uses some distorted keys it is pretty straightforward doesn’t serve as a proper booked to me.

Hipsters should beware. The album doesn’t employ samples, garage synth or loops. It does feature finely crafted songs with beguiling minor turns, smooth nylon twinkles, and the kitchen sink approach to horn and woodwinds embellishments.

Salett’s slightly nasal baritone is outstanding throughout. The charm loses steam by the final bell, but it is (overall) an excellent debut by a group of seriously talented musicians.

Editor’s Note: Eric Wildes is a contributor to DeadJournalist.com. A writer, musician and teacher, you can follow him on Twitter: @Elvis_Skinner.