The Sharp Things honor the talent of a dear friend and founding member
Drummer Steven Gonzalez loved Rush. And that Sugar album, Copper Blue. He also dug AC/DC, Green Day, the Trans-Siberian Orchestra, Led Zeppelin and Three Dog Night. In short, Gonzalez’s personal tastes were, like those of a lot of intensely talented musicians, all over the map. And it was that eclectic curiosity that drew Gonzalez and Perry Serpa together when they were—to cop a line from Patti Smith—just kids, living and listening and bopping around NYC.
In the beginning, Serpa and Gonzalez were the Sharp Things. (The band’s PR material lists each player’s “member since” join date; Serpa’s and Gonzalez’s are their birth years.) The duo’s first demo recordings, cut during a trip to Pennsylvania in 1995 as a kind of experiment in crafting artfully arranged indie-pop, came off so promisingly that the bogus band name they’d concocted for that project stuck. Within a couple of years, the Sharp Things had coalesced into a full band, gigging around the East Village.
Since 2002, the Sharp Things have been releasing a series of albums mostly on the loose chamber-pop model, but accented by forays into other styles, making the band’s output a treasure trove for listeners whose tastes run to thoughtful composition and big-sound acoustics.
When Serpa found himself in the middle of a songwriting blitz around 2009, during which he composed close to 40 songs, he decided to hustle the music onto tape without worrying too much about how it would eventually see release. Serpa recorded those tracks with the rotating roster of members the Sharp Things had come to enjoy throughout its decade-long history. A loose album series titled The Dogs Of Bushwick, drawn from those sessions, began to see release in 2013 on two records, Green Is Good and The Truth Is Like The Sun. Now comes the third, Adventurer’s Inn, its title taken from a bygone amusement park Serpa and Gonzalez used to frequent as kids in their shared hometown of Flushing.
“It’s a short, sharp part of a very self-indulgent whole,” says Serpa. “Almost a mini-LP, really good for those with attention-deficit disorder. We bounce around genres a lot, and on this record, we found ourselves pushing the sides out a lot further.”
True enough. In fact, Adventurer’s Inn may be the shortest release in the series to date, but it’s the most freewheeling, aesthetically. “The Libertine” is a punchy, punkish workout, complete with distorted vocals; “All But These Beautiful Faces” mines a Summer Of Love-era Beatles vein; and the irresistible “Don’t Trust That Girl” is a flatly gorgeous Burt Bacharach-style swooner. Song by song, diverse as the collection is, each song is a standalone knockout. It’s a record for listeners who, like Serpa and Gonzalez, grew up loving all kinds of music shamelessly and indiscriminately.
Adventurer’s Inn is also an understandably bittersweet listen for the Sharp Things these days: Gonzalez passed away this year on September 11, after a lifetime battling the effects of cystic fibrosis. Gonzalez’s drumming anchors Adventurer’s Inn, as it will be the final installment in the series, due next year.
“Steve was my best friend and brother for 40 years,” says Serpa. “We grew up together. I remember him carrying all 18 pieces of his drum kit into my mother’s living room when we were 14, 15 years old. We actually played some shows as a duo before anyone else joined the Sharp Things.”
The band, as Serpa remembers it now, actually grew as a reaction to both of them sensing that they wanted to expand their scope as neophyte musicians. “That was certainly true for me, as a songwriter,” he says. “And Steve totally understood me as a songwriter. He just completely got me, all the time. It’s hard to lose him, first and foremost as a friend, but also as part of the heart and soul of this band.”
That soul is the most evident element on Adventurer’s Inn, the consistent element that binds its assorted songs. And as with the best soul, the sadness is laced with necessary humor. The final installment in the Bushwick series, Serpa hints cheekily, will be “a classic sort of Abbey Road side-two mash-up, with a big orchestral finish. Maybe with a ‘Revolution 9’ sound collage in there somewhere.”