decker., Sail Inn, 3/1/13
Melissa Fossum decker. performing at Sail Inn. See the full slideshow
decker. @ Sail Inn|3/1/13
Sedona-based songwriter Brandon Decker bounced around the Sail Inn like a pinball, shaking hands, raising drinks, and grooving intently to the lineup of bands dueling between two stages. Decker's a humble enough guy, but it was impossible to deny: Last night was his night. The broad smile under his cowboy mustache proved he knew it. The festival-style lineup -- featuring everything from wiry blues rock to electro pop -- was assembled to help celebrate the release of his band's brand new album, Slider.
But Decker and decker. have two very different vibes. Whereas Decker's calm and unassuming, decker. is a stomping, gospel-fried rock 'n' roll unit. Decker was joined by guitarist/vocalist Kelly Cole, bassist Bryant Vazquez, guitarist Dan Allmond, and drummer Michael Leibowitz last night, performing songs from the new album. With a cowboy boot on a tambourine, Decker led the band into a snarling rendition of "Speak in Tongues," Slider's country noir opener.
The band's intensity, its ability to tap into spooky Old Testament terror as well as pastoral Verde River amble, is what sets it apart from the ever-crowded indie folk populace. Plenty of young songwriters are content to sing about trains and "the good o'l days;" decker. explores darker (but no less traditional) folk themes: murder, damnation, and solitude.
Melissa Fossum Kelly Cole of decker.
It's a lyrical stance shared with Nick Cave, Leonard Cohen, and Neko Case far more than fashionable moppets like Mumford and Sons and The Lumineers, and the band's undercurrent of darkness assures that only the most adventurous Starbucks music supervisor would ever slide the band into rotation over the coffee grinders.
Which isn't to say that decker. isn't pretty, or that the combo doesn't get pop music. "Weight in Gold Pt. 1' showcased a polished balladeer side of Decker's composition, and on "Shadow Days," Cole and Decker traded terse R&B moans and skeletal blues durning the verses before breaking into a chorus that recalled classic '90s indie. It's sort of mashup of The Staples Singers with The Breeders (an iffy proposition, sure, but it works).