3/5 stars
Blake Mills is a talented guy. The spider-fingered guitarist has played with the likes of Jenny Lewis and Julian Casablancas, and his recording know-how has serviced records by Conor Oberst and Sara Watkins. Heigh Ho magnifies these skills, while depicting Mills’ affection for a classic vein of American songwriting.
Along with a hearty dose of Americana – think Neil Young by way of Ryan Adams – ‘Cry To Laugh’ springs like a Randy Newman number and ‘Three Weeks In Havana’ is melodically and chordally indebted to Harry Nilsson. These are solid foundations for an impressive LP, but unfortunately Mills spends most of Heigh Ho parading his tools, rather than using them to generate a constructive breakthrough. On several occasions he introduces a crafty chord progression, coupled with the scent of a fast-fermenting melodic brew, then proceeds to add layers of instrumentation – 360-degree percussion, effects-y guitar, orchestral synths or grand piano – but fails to resolve or expand upon the curiosity roused at the song’s outset.
Granted, the instrumentation is handled with prowess, but first and foremost Mills is a singer-songwriter. As such, the misuse of his tools leaves one feeling like a great story has been cut short due a phone battery dying.
