Born several years ago as the solo project of Ottawa musician Rolf Klausener, The Acorn has blossomed over the course of four recordings into a talented sextet. This 7th St. Entry show marked the fourth day of the group's inaugural American tour in which they ventured south to support their newest full-length Glory Hope Mountain. The album tells the story of Rolf's mother, Gloria Esperenza Montoya (note the album title), and her amazing journey Northward from Honduras to Canada. Through his clever lyrics, Rolf crafts an allegory that is equal parts biography and fable. In the midst of so many bands seeking to echo the political environment by calling out the wolves in the walls, it is uplifting to hear this celebration of life and the perseverance of the spirit.
To start off their set on Saturday, the band exploded into their first single “Flood Pt. 1.” Drummer Jeffrey Malecki and newly added drummer/guitarist Shaun Weadick crafted a beat with both of their drum sets while six voices united into a wordless chant. Arising out of this, Rolf’s tenor voice sliced through the backdrop with a sheer pop melody. The cadence of his words and the drummers’ polyrhythms payed homage to Garifuna, a fiercely percussive form of traditional music found in Central America. While never overpowering, this influence remained noticeable throughout their set (in particular on “Low Gravity” and “Crooked Legs”). Rather than just copping a guitar lick here or there, they had reinterpreted this musical form in such a reverential manner that their folk-pop reminded me of Califone’s eclectic approach to American folk and blues. In fact, the Acorn's song “Even While You’re Sleeping” would not be out of place on a Califone album.
Comprised primarily of visual artists, the Acorn's approach to their arrangements was different from most bands I’ve watched. The instrumentation was more about balance and complement than individual complexity. Howie Tsui’s guitar and Jeff Debutte’s bass weaved in and out of each other effortlessly without any part competing for dominance. Their kitchen sink approach to instrumentation was significantly pared down for their live show with only keyboards (played by Keiko Devaux) and multiple ukuleles being added to the traditional guitars-and-drums line-up. The Acorn played with youthful abandon and jubilation that was truly contagious. The songs alternated seamlessly between percussive bombast and solemn reveries dedicated to time's passing. They were at ease on stage and joked that the crowd's communal banter and cheerful applause reminded them of being home in Ottawa. While I had wanted to hear the album’s melancholic closer, “Lullabye,” I knew that it would’ve been impossible unless Ohbijou's Casey Mecija had been hidden in the crowd to offer her vocals.
If the buzz percolating on-line is any indication, their next show in town is going to be considerably more crowded. If you were among the few in attendance, you were lucky. If you weren’t, you may want to consider making a journey to this year’s Winnipeg Folk Fest.
Check out the Acorn’s “the Flood Pt 1” video which was directed by Chris Mills of Modest Mouse’s “Float On” video fame.
