Bombadil: Hold On

There are some bands that are simply so idiocentric they’re practically impossible to describe. It’s not a bad thing of course — the same tag might have been applied to Pink Floyd, the Grateful Dead or even the Beatles at one point — but it does present a challenge when their handlers try to pitch an ensemble to the fickle masses as a whole. The band that calls itself Bombadil poses that dilemma, and despite the fact that they’ve released five recordings over the past decade or so, getting a handle on their distinctive sound is as challenging as ever. Managed by the same team that handles fellow North Carolina denizens the Avett Brothers, the trio — Daniel Michalak (bass, piano, harmonica and vocals), James Phillips (drummer/vocalist) and Stuart Robinson (piano, ukulele and sings) — encompass a wide swath of stylistic terrain, resulting in a sound that often brings to mind an imagined summit between the Beach Boys and Syd Barrett. It’s an unlikely synthesis to be sure, but a comparison that works well when it comes to any attempt to put a tag on their sound.

The elements that go into the band’s new album Hold On are clearly indicative of the trio’s inventive instincts. Informed by all sorts of offbeat arrangements — complete with cheery, sparkling harmonies, deceptively simple piano chords and an intriguing attitude overall — this latest set of songs reflects a basic affinity for a kind of dainty chamber pop rarely heard in wider circles these days.

The fact that all three band members co-compose the material likely contributes to the band’s eye for nuance and detail, one reason the material comes across as so postured and precise. Ironically, the band nearly didn’t get this far; in 2009, Michalak, often referred to as Bombadil’s main musical instigator, was diagnosed with neural tension, an ailment that caused him to lose the use of his hands. It was an unfortunate situation for anyone to be afflicted with, but it’s especially disastrous when it strikes a musician like Michalak and his ability to play.

As a result, Bombadil was forced to go on hiatus for nearly four years. When they returned last year with the critically acclaimed Metrics of Affection, they were like a band reborn. Happily, Hold On looks to continue that streak, offering the possibility that it will push them over the top in terms of garnering commercial acclaim. The sprightly pacing of songs like “Rhapsody in Black and White”, “Forgive Me Darling” and “Coughing on the F-Train” provide the kind of irresistible melodies that all but ensure instant infatuation. And even though the occasional song breaks the sunny mood (as per the dire and contentious “I Can’t Believe in Myself and Love You Too”), the overall vibe remains both upbeat and infectious.

Ultimately, Hold On is full of perky, precocious and thoroughly engaging intent, an album with a more experimental nature that doesn’t diminish ample accessibility. Consider it a must-hear, even if for sheer ingenuity alone.