Jay Farrar makes it on his own

Sebastopol is the first solo album by former Uncle Tupelo and Son Volt frontman Jay Farrar. The work he has done with these seminal alt-country bands was some of the most influential and critically acclaimed of the 1990s. \nIt's been more than three years since Son Volt's last album, and consequently it sounds as if Farrar had plenty of time to work on the album. That is a compliment to the songs as much as it is a detriment to them. The songs are very well written, but it also seems as though he spent a prolonged time in the studio playing around with every sound and instrument he could find. He employs swirling effects, alternate tunings, atypical rock rhythms, synthesizers and sitars quite frequently throughout the album. Often, it just seems to cloud the water. \nBut at times synthesized strings are used very well to affix drama. "Feed Kill Chain" and "Damaged Son" use the synthesizer to add a distant, terror-stricken feeling. But on "Voodoo Candle" and "Prelude (Make It Alright)," the sound just seems misused. The highlight here is "Barstow," employing no gimmicks, it is a humorous story and has some excellent harmonies (with Gillian Welch) and lap steel work. \nProbably the biggest problem with Farrar is his lyrics. With Uncle Tupelo and on Son Volt's first album Trace, the portraits of existentialism in the Midwest seemed refreshing and powerful, but now the subject matter seems tired. While it's possible that like his folk music heroes he feels a certain responsibility to report, it's more possible he doesn't know what else to say.\nIn a way Sebastopol is remarkable because it isn't boring. It is long, almost 45 minutes, and it's always surprising that Farrar's placid vocals are as captivating and emotional as they are. Despite well-worn lyrical subjects, he is finding new ways to present the sound of the meaningless Midwest, which proves that the synthesis between country and rock has a lot of uncharted territory.