Beatle bum: Archer Prewitt details his own private Beatlemania on his second solo disc.
Beatle bum: Archer Prewitt details his own private Beatlemania on his second solo disc.

Having his cake

Archer Prewitt is one of the hardest-working musicians in Chicago's fertile indie-rock scene. A few years ago, the guitarist-singer-songwriter-comic-book artist moved into the neighborhood with his lounge-jazz outfit, the Coctails, and now he lends his guitar and composition skills to the rock and electronics of Windy City favorites the Sea and Cake. However, a pair of recent solo albums has helped the reserved Prewitt slip out of his collaborator shoes for a time to pursue a sound and vision of his own. With his latest album, White Sky, Prewitt has delivered yet another crafty recording, one that hints at a solo career that far surpasses anything he has ever been involved with.

Consider the water-warped pop-rock of "Shake." Prewitt segues into his catchiest moment yet -- "Shake it off / Shake it all away," he sings over and over, as rowdy baritone saxes and trumpets punctuate every refrain. It's a calorie-free, git-up-and-dance moment -- just one of many that permeate Prewitt's second solo album. Nevertheless, upon further investigation, the musical moment makes strange counterpoint to the lyrics. In vague, spare language, Prewitt recounts the bleak story of a woman whose life falls apart as the song builds on its own catchy momentum. By the climax, a swoon of Motown shuffle, the protagonist has foolishly opted for denial; she's going to "shake it all away" on the dance floor.

Prewitt's vocals, distant and icy, go a long way toward giving White Sky its identity. But more than that, it's Prewitt's penchant for juxtaposition that sets his album apart. He has always had a soft spot in his heart for pop and rock, as evidenced by the material on his 1997 solo outing Into the Sun. But with White Sky, he sets his musical levity against often bleak narrative-oriented lyrics. Clever ironic twists have a habit of slipping into Prewitt's songs, and they give what often seems like a light- to middleweight pop song a surprising sudden piquancy and a dark heart.

"In the past, I've never written narrative-type lyrics, and [White Sky] was sort of a first attempt at it," Prewitt says. "When I think about a song like 'Shake,' I think I'm reaching a point where I can have the music wedded to the lyrics a bit better. I can draw a contrast. I'm thinking about what I can do with a song more than I have before, and that comes from listening to more records."

Even a tune like "Final Season," which opens with a descending guitar line, finds a way to cheer up fast -- in this case with a sunrise of strings. And before long, Prewitt is at it again, singing tense lyrics against his pop arrangements. "And everything is forced to change / I keep repeating a simple panicked phrase," he sings, and the extra syllables in the word "panicked" grate against unhurried, breezy violins and flutes. Before the song is over, it becomes apparent that Prewitt's subject is the inevitability of death.

"My intentions are not to draw sympathy or to draw anybody in," says Prewitt. "That's what I appreciate in Nick Drake's music. He never bemoans his state in life. He's writing songs in a cathartic way, without crying or screaming about it. And yet you get a sense of all that through his humility -- you see the art in it. He's not being garishly naked about

it -- veins popping in the throat as he slits his wrists for you. This distance is the place I want to be lyrically. I'm not about revealing too much. I'm more about offering up."

Nick Drake may be his inspirational moon, but the four bright suns of George, John, Paul, and Ringo hang in Prewitt's musical sky. A fairly heavy Beatles influence pervades the recording -- not only in the occasional chord progression or vocal lilt, but also in the way that Prewitt, who's quite interested in arrangements and orchestration, often eschews a rock guitar sound for textures built on strings and horns. An avowed believer in the majesty of the White Album, he varies the mood from song to song, a bit like the Liverpool boys did. And in the end Prewitt comes out on top; like the Beatles, he may mix things up from track to track, but he still manages to sound perfectly connected and logical.

"I went from listening to children's records to finding a copy of my mom's Sgt. Pepper's and never really looked back," says Prewitt, detailing his own private Beatlemania. "It just seemed like this other world that was unattainable. But now that I know that I can form a song, and being a self-taught musician, I can respect the Beatles even more. What I appreciate about something like the White Album is that you go from opposite ends of the spectrum and you end up with a cohesive work, even though four people are writing the songs."

Though he plans to continue with the Sea and Cake, Prewitt has no intentions of putting his solo career on hold.

"I love playing with the Sea and Cake," he says. "[But] I've felt that, if my avenue widens, I'd like to do more solo work, because that's where my heart really lies. I write songs all the time, and I'd like to record more consistently, more often. I have practically a double album ready to go in my head. It's maddening to hold on to this stuff for so long and think that it's good enough to record, but then have the passage of time deaden your resolve."


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