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Damien DeRose, the man lurking behind the folk sound on Peasant’s third long player, is originally from the Pennsylvanian borough of Doylestown, a place with a very meagre human population. This fact holds a distinct impression on me as each song unfolds.
Typically, for an album of this worth, there’s an eponymous track. It has ethereal elements to it, but it isn’t brave enough to be abstract. The MOR-lite harmonics are a leading example. The Flask doesn’t ingratiate itself at all when it starts with “I fell off the Eiffel Tower/I met you and felt your power”. The words don’t get much better after this. In fact, they’re incredibly textbook.
Girls is a bolder affair to the fare Peasant’s produce – it’s more electrified and pushier. We’re Not The Same, similarly, is a handsome bedfellow to Girls. A Little One is introspectively one-sided in its description of love and romance. It reminds me of one of those adverts where a couple buying a new sofa in a post-modern furniture store end up trashing up the bed displays in a sickly show of their affections.
Maddeningly, Doesn’t Mean is another song that stays in the furniture shop. Amends does the same and, while we’re at it, Gone Far Lost chips in with the ball pools of sorrow angle. It’s at this point I begin to worry if Zooey Deschanel will make an appearance. But when the lyrical melancholy is shaken off the energy of the entire record is lifted. Pretty Good is, obviously, pretty good in this respect.
Looking at the facts that make Doylestown the place it is, I would easily put a shiny, silver dime on the theory that this record would be its badge. Breaking up is hard to do because in small areas of inhabitation you’re hardly spoilt for choice. It can make for sobering consequences when turned into art, which makes the title Bound For Glory somewhat dispiriting.