The New Music

One of the most unexpected discoveries I made this year was actually something I’d known about for years. A one-man band called Coconut Records fronted by actor Jason Schwartzman had crossed my path back in 2006, but struck me as nothing more than a vanity project. A completely biased blunder on my part, I admit. I had let an unfound dislike for his acting career become a barrier between me and some truly tuneful music. I think it all had to do with his role as dated Zooey Deschanel’s real life boyfriend a while back. It was one that I’d longed to play for years, so that would make me side against anyone. (Yes, Ben Gibbard, I now officially hate your guts.)

A re-evaluation of Coconut Records late this year, however, has me contemplating the creation of a Team Jason shirt (though I’d probably splurge for a Coconut Records tote bag first, if I’m being honest here). Released at the beginning of 2009, his second album Davy seemed like a difficult one to spot. First of all, it completely flew under the radar. Aside from there being no Metacritic score for it and only a handful of reviews (Pitchfork blindly gave it the kiss of death with a measly 5.9 review), Davy, much like its predecessor – 2006’s Nighttiming – was never released here in Canada. According to Schwartzman’s very own label, Young Baby, he hasn’t “been able to find a good label to release the band’s albums in Canada with.” What the? It looks as though I’m not the only one who was oblivious to the fact that it was Jason’s chewy “Summer Day” and “The Thanks I Get” that were lodged in my cranium after Dentyne used them in ad campaigns. (The former was also used in Spider-Man 3, but that was easy to miss.)

What I like about Coconut Records is how uncomplicated and amiable the songs are. Like Phantom Planet - who he famously drummed for on their first two albums and cemented his spot in the annals of rock on “California,” aka The O.C.’s theme song – Jason puts hooks above anything else. Toning down his sound from PP’s excited power pop (to which he references on “The Drummer,” wryly nodding to his former post by admitting “I was a drummer in a band that you’ve heard of”), Jason is an introspective kind of songwriter, and not unlike what you’d expect from an actor. But I don’t see this as a whiny attempt to navel-gaze. Davy refrains from the star-studded guest list of its predecessors, which included Deschanel, Kirsten Dunst, and brother Robert, who’s in the band Rooney. This gives him some needed alone time to delve more into being a songwriter than coming off as a well-known actor with musical aspirations and some famous friends.

Jason’s well-versed in classic pop standards. His arrangements are lush and sweet, full of layered acoustic guitars and percussive knick-knacks echoing the late Elliott Smith, which heavily echoed that of The Beatles, of course. The production (and Jason’s voice, uncannily) heavily recall Brendan Benson’s solo work and Todd Rundgren’s signature sound behind the boards. But there’s also a heavy bedroom influence to Coconut Records’ oeuvre. It’s pretty easy to picture him hammering out these songs on the edge of his bed, writing them down on a spiral notebook and then plugging them track by track into a Tascam – I can’t say the same about Leighton Meester…

Unlike a lot of actors-turned-musicians though, above anything else, Coconut Records songs come off as honest and authentic. (Check the date - he’s been doing this longer than the acting gig.) I know he leads a privileged life, but had he never starred in Rushmore, Davy proves he could have made it as a musician. Of course, it’s nice to know he can do both, because I’m loving him in Bored To Death.

- Cam Lindsay