For fans of cheesy Nickelodeon sitcoms, the name Clarissa conjures the image of an annoying Blossom wannabe. For fans of indie rock bands, the name Clarissa conjures the image of a Chapel Hill trio whose diverse music has paved the way for bands such as Ben Folds Five and Squirrel Nut Zippers.
Clarissa's most recent album, "Blood and Commons," is the perfect representation of the band's complex, distinctive music.
Michael Rank (vocals/guitars/keyboards), Sara Romweber (drums/percussion) and Andy McMillan (bass) started out as Snatches of Pink in the 1980s, but after a few recordings Rank decided to fly solo.
Two years ago, the trio reunited under the new name Clarissa and released "Silver," an album described as "restless and shimmering." However, the gleam of "Silver" may well be outshone by "Blood and Commons," which is considered the record that was destined for Clarissa.
The group looked to a producer from their early days, John Plymale, who had recorded all of the band's most successful demos, which landed Clarissa publishing and record deals.
Rank believes there was something on those demos that immediately connected with people, something which the earlier albums lacked.
"We really wanted this album," says Rank, "to be more representative of what we are like live.
"People kept telling me that the last record was really mellow, and I didn't know what they were talking about. I was hearing those songs like we were doing them on stage at the time, and they sounded anything but mellow," Rank said.
There is a mellow undertone in Clarissa's music, but it is balanced by an almost defiant energy. The first track, "The Opening Sea," begins slowly with the strumming of an acoustic guitar, the sweet sounds of violins, a flute.
Just as the listener eases into a calm frame of mind, prepared to hear a mellow ballad, drums and bass burst in on the scene as a jolting awakening.
The songs on this album are richly textured, shifting from delicate to tumultuous.
"All But White" is typical rock with its infectious combination of pounding drums and vigorous guitars. "Waterfield" is lyrical and absorbing, creating the urge to hum, sing or even sway along with the notes.
A catchy chorus, pleasant melody and Rank's seductive voice propel "Apology" to fave-track status. The words "I'm sorry" are already precious to the ear, but they sound especially enchanting when sung by a voice as sincere and penetrating as Rank's.
Though it scores on "Apology," Rank's voice is a letdown on some of the other songs. "Powder Blue" is a notable example of the manner in which his voice shifts from a powerful melancholy to an exaggerated sigh, as though Rank is croaking out his dying words.
The torture of having to hear another groan of "Ooohhhh powder blue" ruins what would otherwise be an excellent track.
Though oohhh's, yea's and hey's are interspersed throughout the songs, there are also actual lyrics which, when understandable, add to the magnetic quality of Clarissa's music.
However, Rank, a published poet, cites the lyrics as being no more important than any other part of the songs. "Gone," a close contender for fave-track status, is the shortest one on the album -- a grand total of one minute and fifty seconds.
Its two guitars and mix of two different voice parts (both sung by Rank) give substance to not quite two minutes of song. But its lyrics are the clincher. "I don't need the sh-t you're givin' to me/I can't stop dreamin' of you/You won't believe what has happened to me since you've gone/Now I'm gone." Maybe they aren't the most profound lyrics in the world, but hey, can't you relate to them?
Despite a few flaws (mainly Rank's irritating habit of drawing out certain words), "Blood and Commons" is a strong collection of diverse music that quickly captures the attention of a first-time listener.
Yet the band has had relatively little success outside Chapel Hill. So why does it continue to persevere?
"We've been at this for too long to quit. We've always got the attitude that the next record will be the one," Rank says.
Rock enthusiasts should feel grateful Rank, Romweber and McMillan haven't quit. If fans of original interpretations are out there listening, they will recognize the inventiveness of this album and it will indeed be "the one" for Clarissa.
