Denison Witmer seems to be experimenting… The Ones Who Wait

Denison Witmer

Asthmatic Kitty Records

Rocks like: Sufjan Stevens, José González

Grade: B

Denison Witmer seems to be experimenting.

His latest album, The Ones Who Wait, seems like a hodge-podge of styles as Witmer strives to grow in his sound. Sometimes the effort works in the singer’s favor, but sometimes it detracts from his talent. Chalk it up to growing pains.

It’s worthwhile to consider that this is Witmer’s first release with Asthmatic Kitty Records, founded by Sufjan Stevens. While the label’s artists already boast many of Witmer’s listeners as fans, one can’t help but wonder whether Asthmatic Kitty has something to do with the change in sound on certain songs.

Carry The Weight, Witmer’s last album, was his most cohesive and polished. It seemed a meditation on life, spirituality and love rife with poetic lyrics carried by the folk singer’s expressive vocals. In fact, two of its songs, “Life Before Aesthetics” and “One More Day,” made it onto The Ones Who Wait. “One More Day” more or less plays similarly to the original, with the subtle addition of an organ.

“Life Before Aesthetics” gives up its faster guitars for a slower pace and a soft bass and organ. For the most part, this showcases Witmer’s strengths: his vivid lyrics — “Life before aesthetics was a nail hole in a wall, a borrowed comforter” — and soothing singing.

Unfortunately, not all of the album’s aesthetic features play to Witmer’s strengths. “Brooklyn With Your Highest Wall” kicks off with an easy-listening guitar riff that comes across like background music — which is a shame, because as previously mentioned, Witmer’s intelligent wordsmithery warrants concentration. The style and instrumentation seem at odds with the singer’s wistful singing and pull the attention away from his performance.

A few other points in the album that experimented with sound work against Witmer’s assets. But some experiments really translate well for Witmer.

The addition of a banjo to “Influence” complements the singer’s folksy style and — per the usual — harmonies strengthen Witmer’s soft and melancholy voice. A church organ crying in the background of a musical interlude seems an odd, but welcome, twist and successfully shows Witmer’s growth as a musician.

One of Witmer’s best features as a musician is his ability to grow in his sound.

Finally, “I Live in Your Ghost” ends the album gently, with the aching acoustic guitar plucks and beautifully simple lyrics coming across so sincerely. When Witmer has all the right components in his songs, their honesty comes across, and it’s apparent that much of the songwriting material comes from his own life.

Hopefully, listeners appreciate Witmer’s obvious efforts as a musician to try new sounds and adapt — defying the folk singer with an acoustic guitar trap so many performers fall into. While not all the risks produced spectacular songs, an artist’s willingness to take chances doesn’t limit his potential.