Brad Sanzenbacher – Fear and Drought
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San Francisco-based singer/songwriter Brad Sanzenbacher might not have a country-esque name, but his blend of Americana/country folk is honest, pure, and unassumingly smart. It recalls early electric-era as well as troubadour folk-era Dylan, especially due to Sanzenbacher’s lyrical poeticism and wounded, emotional delivery – one that plays to alt country’s studied imperfection and also calls to mind Alec Ounsworth.
After cutting his teeth in the D.C. folk scene, the Maryland native moved out west, adopting California as his new home. But despite his Northeastern roots, Sanzenbacher's debut, Fear and Drought, is full of rich, well-arranged folk, steeped in the history of Americana with hints of southern rock. It's a well-rounded effort for how it manages both solo and full band tracks without sounding uneven. Sanzenbacher's attention to detail is evident throughout the album, with careful consideration for the impact of each song's pacing and in the additions of organ, piano, and violin. Lyrically, he keeps up with the music, doing his best to avoid cliches and expand on textbook folk themes.
Sanzenbacher’s shaky vocals fall in line with the style of music and certainly fit the character of his songs, but his voice doesn’t always convincingly lead the music. As a result, it’s his vocals that end up being the one thing that makes Fear and Drought less compelling. There are moments when he demonstrates greater control (“Prayin’ For Fire,” “Abolition”), but, overall, it often comes across as though Sanzenbacher is straining his voice unnecessarily. So that studied imperfection comes to feel more calculated, less natural. It’s on the more melancholic and laid back tracks like “Mount St. Helens” and “Fear and Drought,” where his voice is most effective, fitting, and sounds more confident.
While Sanzenbacher’s voice may not always match the strength of the instrumentation, he reveals an understated wit throughout the album, with metaphors and allusions to history (e.g. Frederick Douglass, Winston Churchill). On “ Fear and Drought,” he sings, “I’m throwing heavy stones in the Pacific/Trying to shift this land six inches West/Endurance is the only way I’m gifted/Survival is the game at which I’m best.” On “Churchill’s Greatest Speech,” he proclaims, “To march behind your shadow is to march towards the darkness, to the cadence of cicadas, and the rhythm of the crickets.” His observant, at times poignant, lyrics prove that Sanzenbacher writes with conviction and speaks with sincerity about the troubling world around him.
Over the past few years, there’s been a real influx of Americana/alt country/folk artists and bands appearing on indie labels and on non-commercial and college radio. It’s certainly a style that is rather timeless, and it’s undoubtedly a welcomed reprieve from the recycled, glossy pop that tends to flood the market. But with so many playing in this vein, distinguishing yourself becomes key. With Fear and Drought as a debut album, Sanzenbacher has a solid foot forward and displays an aptitude for crafting meaningful, mature folk songs. Ultimately, the album comes off relatively well, but shows that Sanzenbacher still has room for improvement to cultivate his sound into something more distinct and memorable.
Fear and Drought is out now.
Brad Sanzenbacher
Official Site
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