From the moment Son Volt's The Search starts it is evident the band has reinvented themselves. More than reinvented: rebirthed. Part of the reason for this is, of course, the swapping out of three original band members in 2005 for Son Volt's fifth album, Okemah and the Melody of Riot. Another part is that frontman Jay Farrar is expanding his sonic horizons a bit, partially due to the influence of his newest band member Derry De Borja on keyboards.
""Slow Hearse,"" the prologue to the album, features Farrar's heartbreakingly beautiful voice: ""Feels like driving 'round in a slow hearse"" repeated several times over the same few notes on a piano. Farrar's voice then drops out, leaving just the piano accompanied by some light guitar and percussion, creating a dream-like haze that works perfectly to offset the incredibly tight and stylized next song, ""The Picture,"" a prime example of what a departure this album is from Farrar's more traditional work. While true to his roots—semi-political lyrics and a pleasing melody—this song features an enthusiastic horn section, adding new energy to what could have been just another stalwart tune, rather than the standard guitar hook any old Son Volt album would have seen.
While Farrar has never been a stranger to sad or depressing songwriting, the warbling guitars and curious keyboards of the almost sinister sounding ""Circadian Rhythm"" recall REM or Gram Parsons during a dark night of the soul. Other tunes, however, are purely traditional Son Volt—""Beacon Soul,"" ""The Search"" and ""Satellite"" are solid rock songs with a little raucous and a lot of heart. The Search also features several ballads such as ""Highways and Cigarettes"" and ""L-Train,"" which are just hands-down gorgeous. Deeply informed by the political climate of the 21st century, Farrar's lyrics obliquely comment on America's restlessness, cynicism and, of course, commander-in-chief.
After 2005's Okemah many Son Volt fans were curious to know whether it was a fluke or a comeback. They can rest safe, however, because, if anything, The Search is a superior album to Okemah. Whereas Okemah played it safe—and did it well—The Search displays Farrar and his new backup band's musical abilities as well as shows that old dogs can, in fact, learn new tricks.
It's also impossible to comment on Farrar or Son Volt without making some kind of comparison to former artistic partner Jeff Tweedy (of Wilco), and here it is: Son Volt isn't Wilco, and they're not trying to be. There's a reason Farrar and Tweedy went their separate ways and The Search is good evidence of why: whereas Tweedy attempts a sea change with every new album, Tweedy chooses to work within an established framework (and does an excellent job of it). The Search stays in that framework, but at times one can hear Farrar tapping on the walls of it.
