Pete Yorn “Back & Fourth” Review
Pete Yorn’s Back & Fourth presents a unique balance: while it has a very approachable earthy sound it also maintains a glossy mainstream digestibility. This becomes notable as it is a much different sound for Yorn, who went to indie producer and noted Saddle Creek arranger Mike Mogis, Bright Eyes band member/pianist Nate Walcott and Azure Ray’s Orenda Fink for assistance on the record.
Before I divulge any more details on album however, I must say that Back & Fourth is quite well-produced despite having a low-fi, stripped-down sound. There is an organic element that Mogis and many Saddle Creek bands are able to master, but unfortunately, despite its pedigree, this album falls slightly short of that sound. Don’t get me wrong, the lyrical content is rich, but it’s also slightly immature and almost juvenile at times, especially when considering Yorn’s age, experience and image.
There is a different side to the album however, as it was created during a very rough patch for Yorn, who suffered from anxiety following a break-up from his girlfriend and the loss of a family member. Much of the album was written from the thoughts that Yorn notated on his Sidekick, which later became lyrics for many of the songs on Back & Fourth. There is a sense of vulnerability about the album, the process, and the lyrical content, and I can certainly respect the homage he is paying to the past.
It would seem that Back & Fourth is strategically produced as Yorn worked with all of the right people to produce the sound he sought. With that being said, Yorn didn’t exactly leap for originality. The record’s lead single, “Don’t Wanna Cry,” is innocent sounding with its simple lyrics, “I don’t wanna cry for you, but there’s nothing else to do, if it can make me feel better, I can cry, cry for you.” But like much of Back & Fourth it is definitely reminiscent of music we have heard many times before. A glaring exception is “Long Time Nothing New” however, the song sounds like Yorn was able to fully connect and share of piece of his soul and his sorrows. This is closer to what one might expect from Yorn, who is known to push the limits of his musical knowledge and arrangements, however most of the other songs unfortunately sound more like an awkward clash between Eddie Vedder, Bright Eyes and Ray Lamontagne.
With Back & Fourth fans might miss the originality which initially attracted them to Yorn as the album lacks the emotion and connection between him and the listener. Fans might also be disappointed to know that he didn’t play any instruments on this album, but rather left the musical duties to his (albeit rather talented) band which he assembled. Whatever it may be however, Back & Fourth doesn’t live up to Yorn’s reputation nor his artistic abilities.
