Amelia is a four-piece combo, based in Portland, Oregon, that rose from the ashes of the late-'90s alt-country band the Flatirons, which made one critically lauded album before splitting apart. Guitarist Scott Weddle, drummer Richard Cuellar Jr., and bassist and multi-instrumentalist Jesse Emerson of the Flatirons have teamed up with singer Teisha Helgerson to form Amelia. After All, the follow-up to their 2002 debut, Somewhere Left to Fall contains 11 tracks that make the most of Helgerson's smooth alto and penchant for torchy crooning.
The band's sound is mostly acoustic, with light touches of electric guitar and the occasional electric piano or organ, all of which perfectly suit Helgerson's understated but clear vocal style. All of the songs were written by various band members, alone or in combination. The first three tracks were well chosen to lead with. "Jigsaw", written by Weddle and Emerson, opens with jazzy double guitars that lead into Helgerson's singing of the oblique, metaphoric lyric about a love affair with something missing, summed up in the catchy chorus of "Jigsaw, love lost and scattered." Helgerson wrote the second track, which has obvious single potential. Its languid, syncopated bass line and spare accompaniment of brushed snare and liquid electric guitar keep all the focus on the lyrics, which sketch a portrait of young but oh-so-cynical scenesters who don't believe in love, but "It's better than sleeping alone." A definite "earworm." Finally comes the acoustic cabaret of "Et Vous," sung entirely in sexy, earthy French by Helgerson. Its lovely melody conveys just the right melancholy mood, Emerson's nylon-stringed guitar evokes Django, and the plucked autoharp adds an exotic touch, sounding almost like a hammer dulcimer. Except for the rather spare instrumentation, this one could be mistaken for a song by another, better known Portland band, Pink Martini.
After All isn't all lazy, torchy, noir-ish ballads though. Weddle's "St. James" has a Calexico-style vibe with creaking guitar strings, tinkling piano, Spanish-style guitar and syncopated brushed snare, and it builds to a rocking chorus. "Last Pariah" evokes the Cowboy Junkies, with a wall-of-sound arrangement that includes electric piano and organ and backing vocals from Mike Coykendall, who co-produced the album with the band. And "Blackbird Pie" is clattering Waitsian rocker with banjo scrape, organ wail, steel drum stabs and distorted electric guitar; Helgerson shows she can cut loose vocally on this one, too. "Happy After All" has a twangy country vibe to it, which fits Emerson's lyrics about putting a good face on a breakup.
"I Read the News Today" takes the opening line from The Beatles' "A Day in the Life" and builds a song of modern angst, both social and romantic, with references to apocalyptic battles and cheerful panhandlers mixed in with the bitter end of love. "France" is a piquant waltz, mixing memories of a love affair and a visit to France -- this one has a lovely arrangement that includes bowed bass, accordion, violin and bass clarinet. And "All But the Sea" is a beautiful, simple piano and vocal ballad, with just a little bit of atmospheric percussion.
