<\/p>\n
Artists fall, but they also rise. Caitlin & Brent<\/strong> is the joining of like-minded artists who are pretty disparate from one another. At times, it\u2019s the differences between people that could be the catalyst for something extraordinary as they blend and create song structures others may not have thought of, and\/or not of any deliberate actions. That would be Caitlin Sherman and Brent Amaker, an unlikely duo who created an album penned with distinct signatures.<\/p>\n There are artists that have been noted, because of their clear artistry; Simon & Garfunkel, Nancy Sinatra & Lee Hazelwood, and Sinatra and Jobim, considering for this self-titled (Rodeo Corp LTD.) release, both artists drew inspiration from 60s French pop. But you might hear much more than that. An off-the-cuff comparison needs to be offered here, and while the style of music here couldn\u2019t be any more different than what they recorded so many decades ago, just like Marvin Gaye and & Tammi Terrell, Catilin & Brent\u2019s vocal harmonies are lovingly captivating in just the same way. That\u2019s the only similarity as yes, they\u2019re so musically different from one another. They\u2019re simply so in tune with one another, it\u2019s hard to imagine both not creating music with one another. Brent\u2019s baritone is soothing underneath Caitlin\u2019s sultry delivery. \u201cPleasure In The Pain\u201d displays it as both sing along with one another, doubling up on the lead and on the chorus. Strings sway in the background as keys & guitars create an ambiance, with a build-up that moves mountains.<\/p>\n The poppy endurance of \u201cNight Call\u201d seems to move in varying directions, driven mostly by keyboards, strings, and electronics as it slides with effortless nostalgia thrown within the mix. Caitlin\u2019s voice is sometimes dramatic, offset by Brent\u2019s on the chorus, but it\u2019s the harmonies, those damned harmonies, that draw listeners right in. Make no mistake though, the underlying bassline has a lot to do with it as well, on the verses and the chorus. Just a few notes and you\u2019re hooked right in. Now, while strings have been mentioned, the album is filled with arrangements that have them fall to the background, but \u201cMirage\u201d opens with dominating effect. They\u2019re soon overpowered by a haunting bassline, cheerful xylophones, and more key strokes. Here, the band\u2019s sound is much more contemporary but still living off the fringes, and that\u2019s fine as Caitlin\u2019s voice soothes the savage beasts throughout.<\/p>\n There is a method to Caitlin & Brent\u2019s madness though, and while not every song captures it the band\u2019s sound rattles around where chamber pop meets a country\/americana-esque world. While \u201cSilver Screen\u201d may have semblances of each, with strings wrapped around it and its punchy rhythm, it\u2019s the lyricism that forces you to pay attention as both vocalists volley back and forth around golden age movie star couplings as they question \u201cWho will play us in a film\/ Who\u2019s gonna play us in a film\u201d? The duo reeks of nostalgia, born into an era much too late, but we should be thankful they weren\u2019t, and they\u2019re right here, right now.<\/p>\n If you haven\u2019t guessed it by now, this self-titled release by Caitlin & Brent touches on a musicality that hasn\u2019t been touched on. If you think they\u2019re derivative, you might think again and know they\u2019re derivative unto themselves. This album is brilliant, and there\u2019s no turning back now.<\/p>\n