► Alec Ounsworth - Mo Beauty

Alec Ounsworth
Mo Beauty
Anti Records

Mo Beauty is the debut solo album of Alec Ounsworth, front-man of the American alternative rock act Clap Your Hands Say Yeah (abbreviated here as CYHSY for laziness). Since the 2007 release of the band’s pretty average sophomore album, Some Loud Thunder, CYHSY has taken the backseat for member’s various side-projects. Robbie Guertin and Tyler Sargent, guitar and bass respectively, creating Uninhabitable Mansions (myspace.com/uninhabitablemansions), and Ounsworth working with indie rock super-group Flashy Python (myspace.com/flashypython) as well as making this, his solo album. Quite an impressive output from the member’s of a band that were forced to re-print their debut solo album with demand exceeding supply.

Ounsworth’s solo stuff doesn’t stray too far from what we already know of his sound from CYHSY, predominantly indie rock, with an experimental twist and a hint of country and folk; made unique by Ounsworth’s easily distinguishable, verging on unpleasant, husky and almost whining vocals. Mo Beauty, alike to CYHSY’s self-titled debut, is home to a range of emotively powered songs; and could almost pass for the soundtrack to a theatrical production.

Mo Beauty opens with “Modern Girl (…With Scissors)” (in one’s imagination at least) in a dark, wet backstreet in an American big city, with Ounsworth’s character shiftily creeping around, jumping from target to target to pocket-pick, alike to a Fagan character; not an unlikeable chap but unquestionably deceitful. Drums crack to interrupted bass, amidst underlying guitar jangles with Ounsworth’s appropriately unsettling vocals on top form.

Second track, “Bones In The Grave”, is equally as unnerving; opening with haunting synths which last throughout, and almost erratic, unsystematic guitar work. Here one imagines Ounsworth’s Fagan-like character instructing tasks for his minions, with a workforce working like clockwork around him.

“Holy, Holy, Holy Moses (Song For New Orleans)” is a far more sombre affair, possibly the regret after the committed crime of the scene before. Pretty piano accompanies charming acoustic guitar work, before Ounsworth’s disheartened vocals, fitting delightfully. And despite the songs downbeat, almost depressing tone, it manages to serve very pleasing to the ear.

Mo Beauty continues in theatrical manner, with more ‘big’ tracks following those mentioned so far, with some of it almost comparable to The Flaming Lips. Not all of it is as enjoyable as those described thus far however; “Me And You, Watson”, despite being reminiscent of The Clash’s brilliant “London Calling”, is a bit grating, and even those most resistant to Ounsworth’s sometimes harsh vocals may struggle. And then we have “What Fun” which is quite frankly a bit dull.

Mo Beauty leaves no sour taste in the mouth, however, with the last two tracks being up there with the best on the album. “Obscene Queen Bee #2” is like a good U2, quite a modest affair, yet still with a big sound.

Ounsworth excels at incorporating quirky, catchy features into his songs. The use of the tambourine on CYHSY’s “Let the Cool Goddess Rust Away” isn’t revolutionary, but works incredibly well and wouldn’t be the choice that all bands would have made. It is things like this that Ounsworth continues to reap the rewards of, in terms of musical effect at least. The simple inclusion of the words “don’t tell me” in “Holy, Holy, Holy Moses (Song For New Orleans)” is infectious, leaving you the desire to play the whole track over and over, despite it being quite a slow and low-key affair, for those three words alone.

And in spite of Ounsworth’s want to stay out of the public eye, or at least enough so to not be receiving unwarranted praise and popularity, continuing to produce music like he does is only going to heighten the public awareness, and the public expectation, of the music he releases in the future, whether it be with the front of CYHSY, Flashy Python, or more solo stuff.

At very least, Mo Beauty should serve as assurance to all CYHSY fans that the debut was, indeed, no fluke; and that Some Loud Thunder may have been somewhat of a blip. And for all those not aware of the work of Clap Your Hands Say Yeah, do be aware that his vocals are somewhat of an acquired taste; but well worth the first bitter mouthful. Finger’s crossed for more Ounsworth et al work in the future.

2:1

By Jake May

Retro / Music / October 2009 / Alec Ounsworth

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