Review By Chris Nowling: Patience is a virtue, sure, but one that tends to slow things down and is occasionally even unnecessary. Will Stratton’s third album, New Vanguard Blues, serves as a reminder that impatience can be just as valuable a trait. After offering one of my favorite records of 2009, the consistently stunning No Wonder, Stratton apparently aimed to try something a little different for his third full-length: Vanguard was recorded and mixed by the songwriter himself over the weekend of July 9th and available online just weeks later, an unusual but certainly welcome decision as in many ways it is his best record to date. Shedding the various sonic accouterments that enhanced No Wonder, Stratton’s latest is simple and stripped-down, resulting in a tighter, more focused set of songs elevated by the artist’s impressive guitar work. But this album really succeeds for the same reason the last one did: Stratton’s singular songwriting, which has only gotten better with time.

That Vanguard was recorded in just two days is almost impossible to believe; the songs are beautifully performed and fully realized, never sounding sketch-like or unfinished. There obviously isn’t much in the way of production polish, but there also doesn’t need to be; Stratton’s tenor is naturally smooth and effortless, and his (mostly) acoustic guitar playing is richly complex, more enjoyable for the occasional squeak or buzz the live recording produces. Opener “Bluebells” introduces us to Vanguard’s base aesthetic: a brisk guitar pattern rolls under reverently sung musings, hinting at the work of Nick Drake (who Stratton greatly admires), yet most reminiscent of the signature style Stratton’s made very much his own. Semi-obscured insights into personal relationships, the temperament of his expressive, unhurried vocals, even the chord progressions carry a welcome familiarity. But what differentiates Vanguard from Stratton’s earlier work is its graceful combination of intelligence and emotional sincerity, a kind he’s never quite captured before. No longer seeking the thematic and stylistic sprawl that characterized his sophomore album, Stratton’s work he is more moderate, focused. Better.

Even Vanguard’s more varied latter half—featuring the thematically convoluted (though fascinating) “Holy Blonde” and “The War Is Over,” an unusual ballad from the perspective of a future veteran—avoids drifting far from the uniquely personal perspective that defines the record. 'War,' with its occasional harsh wash of electric guitar and plodding pace, serves as a reminder of Stratton’s willingness to push boundaries, a welcome break from the album’s safer moments. Maybe the best way to describe New Vanguard Blues would be to say that it feels both comfortable and accomplished. Those are, admittedly, unexciting, even conflicting descriptors, especially for an album held in such high regard. But they’re also appropriate, given the familiar yet refined craft, and the sense of confident discovery that resonates in this music. New Vanguard Blues has given us even clearer evidence of Stratton’s considerable talent, which is high praise indeed considering the talent he had already shown.

Last Word: Will Stratton’s third effort shows him refining and simplifying his signature style, creating what may be his best album yet in the process.

Review By:
Chris Nowling

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