Album Review: Michael Cera - true that
By Alexa Smith, News Editor
[Self-released; 2014]
Rating: 9/10
Key Tracks: “Of a Thursday, ” “Gershy’s Kiss,” “Ruth”
Whoa. Who was expecting this?
Thinking of his role in "Nick and Norah’s Infinite Playlist," Michael Cera seems to be more of an alternative rock and indie pop fan, busting out the “hair-dryer” in the clubs and listening to masters such as The Cure and Modest Mouse while cruising in his Yugo. Obviously his role may or may not have anything to do with his true musical tastes, but "Nick and Norah's" isn't the only film in which good taste in tunes are a key element of Cera's character.
In "Scott Pilgrim vs. The World" and "Nick and Norah’s," Cera showcases his own music-making abilities as he jams on either electric guitar or bass. It’s not surprising that he is a man of many talents, but when his perceived personality is compared to the music he has released with true that, this new side of him appears to be way out there in the middle of nowhere rolling around in a nice patch of grass.
Cera tones down his natural, lovable comedic energy and channels his talents into something far more serious and real. In the comfort of his own home, the-man-once-known-as-Paulie Bleeker lays down some bedroom ditties on GarageBand and finally gives his admirers a peek into what’s going through his head.
Cera seems to have quite an old soul when it comes to writing music. true that features two alternating vibess: One a comforting, lo-fi folk sound with charismatic and honest lyrics and the other a collection of unique and charming instrumentals, often sounding rather vintage and nostalgic. Neither personality correlates with what one would see from Cera onscreen.
true that could easily be equally mistaken for either the soundtrack to a light-hearted romantic flick or the accompaniment to an aged black and white film. The album is riddled with instrumental interludes that bridge the space between more wholesome folk tunes. “uhohtrouble,” “Humdrummin” and “Old Grey Whistle” barely last long enough to get in a good listen; by the time the tracks end, you might have missed the whole thing.
This style of frequent-yet-brief morsels brings to mind the concepts used in Panic! At the Disco’s A Fever You Can’t Sweat Out. These tidbits give the audience something nice and easy to contemplate while Cera prepares the next track... which can be either a chaotic mess (the good kind) or an intelligent, well-mastered piano piece like “Of a Thursday.”
Cera's work is cleaned up, sprinkled with class and even given a European flare of ‘20s ragtime, circa F. Scott Fitzgerald with his occasional piano work. “Too Much,” “Kettle” and the delightful “Gershy’s Kiss” are smooth and flow well, like a nice stroll on a cool night.
Then, with tracks like the Blaze Foley cover “Clay Pigeons” and “ohNadine (you were in my dream),” Cera pulls off some casual, breezy folk effortlessly. In “Steady Now” and “Ruth,” Cera captures the essence of extremely early Dr. Dog (Toothbrush days), mimicking the soft strumming and realistic lyricism of “County Line.”
Everything else in-between links the varying styles to one another, creating the very unexpected but ever-so-pleasing lullabies and works of art that make up the chronicle of true that.
