You’ll find Shayfer James’ music on a playlist called “You’re a charming villain” and this gives a good idea of what to expect—a somewhat dark, vaudeville approach that mixes theatrics with brooding lyrical themes. Or, more simply, these would work well in a movie soundtrack. This isn’t a surprise—James composes for film after all.
Of course, this is arguably also my favorite vocal approach out there as well: bands like K Sera, Hotel of the Laughing Tree, Kiven, and The Dear Hunter have a similar penchant for theatrics and je-ne-sais-quoi that give their songs a smooth sheen and dynamic personality.
But James’ music feels truly theatrical and blue collar all the same. At times he takes a work-song approach. Dare I say, he draws influences from sea shanties as much as he does cabaret. One thing he does particularly well is paint visual pictures. The dark mystique of the lyrics on “Good Life” juxtapose the playful nature of the accompanying video, itself focused on parodying the promises of infomercials. You’d expect much different imagery to accompany this song, but something about the pure absurdity pays off (and hey, not everyone has 20 friends to be in a video at the drop of a dime). It’s worth noting more is going on in the video than first glance might have you believe, but that’s a separate discussion.
After this high-energy opening, James takes things down a few notches. “Worth the Wait” is a moody ballad where James croons over western-style guitar and piano. These first two songs set a very strong start to the release.
“Screechin’ Wheels” is less theatric and more along the lines of the work songs I mentioned early. James’ soulful delivery manifests in overlayed looping vocal parts over a powerful drum groove. It’s definitely the outlier of the bunch stylistically, but that’s not to suggest it feels like a miss.
Things really take off on “The Long Con”—this is the most expansive track, both in terms of length and dynamic. While still cinematic, “The Long Con” feels more triumphant than villainous. It’s bright and exciting. It feels like it’d be an appropriate closer. “Drink with me while the world ends,” James proclaims. The apocalypse is nigh, but he wants to enjoy the last remaining moments.
“Pistols & Paces” follows, returning toward the darker end of the spectrum, with perhaps the most prominent bass of the whole collection. There’s a definite shift in dynamic from a circus-esque intro to a more relaxed lounge direction. Ultimately, it’s not the most memorable of the tracks. It’s a bit sleepy at times and doesn’t have the same kick to it as its compatriots, even if the arrangement feels strong otherwise.
The album closes on “God Forbids,” a quiet ballad about living a life of heathen pursuits. Even so, the delivery is one of meekness and uncertainty—James isn’t boasting as much as simply recounting the reality of the song’s protagonist. Rather than go out with a bang, James ends on a whisper. It’s a stark contrast with “Good Life” and all of its confidence and volume.
James’ latest release is certainly a mixed bag, though not necessarily for lack of any songwriting weakness. The immediate highlights are “Good Life,” “Worth the Wait,” and “The Long Con.” “God Forbids” doesn’t feel like the strongest closer, and I’d prefer “The Long Con” to cap things off instead. But ultimately, James has taken risks here which is to be appreciated. And overall, the strong moments far outweigh the weaker ones. It’s not that any single track is bad—just that some of the counterparts are very compelling and earn preferential attention. Americanachronism is rich in personality, and its quirks help it shine.
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