Silver Jews - The Natural Bridge (Album Review)

 

Silver Jews - The Natural Bridge

(1996)


My copy: 2013 reissue by Drag City.


David Berman’s second full-length as Silver Jews was conceived almost exclusively as a solo album (that is Malkus and Nostanovich were not present and the crew was at its most stripped-down). Instrumentally, it’s lost the lo-fi charm of Starlite Walker and hasn’t quite gained the tight, pop sensibilities of American Water. Lyrically, however, The Natural Bridge is a contender for some of Berman’s most effective work yet. 

Berman is no stranger to irony; and sporting a borderline honky-tonk musical approach, the wistful sentiments of “How To Rent A Room” almost vanish into the alt-country mish-mash. There is a method to Berman’s madness: he leans into the sad clown archetype, utilizing genuine humor and a slick demeanor to more stealthily deliver his actual messages. And yet The Natural Bridge might be Berman’s most tear-jerking works, supposing that you’re capable of reading between the swinging melodies of “Pet Politics,” which touches subtly on divorce. “Black And Brown Shoes” is a mid-tempo groove fit for a saloon while “Ballad For A Reverend War Character” laments miseries that befall a series of unfortunate figures, with references to Satan. 

“The Right To Remain Silent” is the obligatory instrumental piece, this time with dampened drums and glittering arpeggios. “Dallas” bounces from major to minor in the verses, creating a sense of anticipation that is relieved in the chorus. Berman’s hopeless romanticism is broadcast fully on “Inside The Golden Days Of Missing You,” which mixes an organ in with the depressive musings. “Albemarle Station” takes its time with forays into quiet instrumental breaks, and the song cuts out before the final chorus is able to bask fully in jubilee. 

The best marriage of music and lyrics comes in “Frontier Index,” whose repetitive and tense guitar gives further weight to some of Berman’s most poignant and comedic lines (“Boy wants a car from his dad / Dad says, "First, you got to cut that hair" / Boy says, "Hey, Dad, Jesus had long hair" / And Dad says, "That's right, son, Jesus walked everywhere"”). Finally, “Pretty Eyes” strips down as Berman channels his emotions into a last, bittersweet reflection before the instrumentals sour and go dissonant. 

Lyrics are such a malleable force in music, even with explanations from the artist themselves. In such, it is hard to say how Berman’s words might impact you from just the surface, as there are many ways to interpret his work. The Natural Bridge is, however, noticeably more sentimental and heart-tugging than his other earlier albums, should you read along as you go. As far as the musical compositions, they may be less engaging than say, American Water, but the depth of Berman’s personality shines through the lyrics with such outstanding character that the album demands you keep listening. 


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