Pierre de Reeder - The Way That It Was

Genre indie-rock Publisher Lumberjack Mordam Music External Links Official Website

Until recently, Pierre de Reeder was known simply as the bassist for indie band, Rilo Kiley, acting as the low-key anchor for the band’s explorations in pop/folk music.  With fellow members Jenny Lewis and Blake Sennet receiving so much attention for their solo projects, it became easy to pass over de Reeder’s own substantial talent. 

On his first solo album, The Way That It Was, de Reeder finally showcases his abilities.  He wrote every song and played most of the instruments on the album, proving himself to be a confident songwriter and multi-instrumentalist.

With The Way That It Was, de Reeder has cobbled together a debut that stands toe to toe with the solo efforts of his band mates from Rilo Kiley.  Those familiar with Rilo Kiley’s pop-rock with a folk sensibility will love de Reeder’s solo debut.  These elements are present in lush detail on each track.  The Way That It Was isn’t just some Rilo Kiley clone, however.  De Reeder plays up the soft-spoken and gentle nature of folk music on this album.  The result is an album that’s smoother and quieter than most Rilo Kiley songs.

Thanks to meticulous production values, courtesy of de Reeder and Dave Trumfio, the album shines with a bewitching clarity and openness befitting de Reeder’s lyrics about hope, love, and honesty. 

But The Way It Was is as much about nostalgia over a time long gone or a love lost as it is about keeping an eye out for the silver lining.  De Reeder’s debut stands out in the crowd less for being innovative and more for going back to the basics – a guitar, a piano, drums, and a voice.  The music isn’t mindless pop.  There’s a story to each song, and behind each story, an unwavering message of hope.

The cover art, an oil painting of a small village done in swatches of bright colors, fits perfectly with de Reeder’s warm voice and the equally warm and inviting production.  From the too red rooftops to milky blue sky, even the cover art drips with nostalgia as if de Reeder wants to tell people, “Yes, I know that’s the way that it was, and it can be again.”  
 
"Shame On Love" is a lover’s lament, but the song feels light and breezy.  De Reeder’s crooning voice, along with the spacious instrumentation, is arresting.  You can’t help but listen.  Close your eyes, and you can easily imagine blue skies, palm trees, pristine beaches, and presiding over everything, the summer sun.  The remainder of the album conjures up similar pastoral images of plains stretching to the horizon and summers in the park.

But it’s de Reeder’s voice that steals the show here.  It’s smooth and sonorous and soars above the other instruments on each track.  He has even been compared to Elliot Smith.  To that I would add that he sounds like Elliot Smith if Elliot Smith had decided to take anti-depressants and sing in something other than his usual nasal rasp.  No offense to the late Elliot Smith, but the comparison feels forced. 

One thing’s certain, though – de Reeder’s talents are vast, much vaster than anyone could have imagined.