Daniel G. Harmann & the Trouble Starts have recorded an eleven song full-length called “Risk” that “sounds like the music I walk down the street listening to, wishing I could make myself. Big songs you dream about making and playing to lots of people,” Harmann says. "It's really exciting, having music that you can jump around and scream to and to know it's your own."
Harmann and his band -- Forrest Haskell on bass, Shea Bliss on drums, and guitarist Kelly Dale -- are master craftsmen of working class art, constructing “iceberg rock” as sinewy and sensual as Blur (one of Harmann's favorite bands), strong as the late 90s Seattle rock scene (which brought Harmann from Arizona to the city back then), and as emotionally honest and deep as melancholy rockers Jimmy Eat World, Idlewild, or even Fugazi, who have been influences since his days in Phoenix.
Daniel G. Harmann & the Trouble Starts have jumped forward with “Risk,” recorded live over five days earlier this year with Long Winters bassist Eric Corson, who brought them for the first time to Electrokitty Studios, where he does most of the engineering. “I loved the drums sounds I was hearing out of Electrokitty,” Harmann says, about the upcoming LW tracks Corson previewed him. (Electrokitty is owned by Gary Reynolds, who mastered “Risk.") Corson captured the songs in a creative burst, making Bliss’s drums sounds humungous, and Forrest Haskell’s bass tones thick enough to match and empower Harmann’s and Dale’s assertive strums and clouds of ambience.
“Risk” is lyrically all about taking chances -- for example, in the urgent, sobering opener “We Are Professionals” which describes the "slicing skin and crushing bone" Harmann has experienced working construction and that it's “always feast or famine / in my glass or in my bed”; or committing fully to a relationship around the time he had gotten shocked as an electrician in sonorous “I Became The Ground”; or a convergence of experiences compared to a devastating plane crash in the torqued, almost funk post-punk of “Auckland to Auckland” -- its tracks sequenced to show Harmann’s gift for describing change and mindfulness open up, along with the hooks and big beats to spare.
“The Horse and The Sistine Chapel” is the first single from the album, and is also the shortest track -- “It’s about someone evil,” Harmann says, allowing the imagery to tell the tale. At the other end of the spectrum emotionally and time-length wise, the eight minute penultimate “Estrella” describes the caring family he loves so much (“We are the kind to call when they arrive,” he sings). “I threatened to put that song first on the album,” Harmann admits, “because there’s so much going on in it. But we decided to save it for later on.”
Musical guests helping out on “Risk” include: Irene Barber from Eighteen Individual Eyes dueting with Harmann on the sweetly anthemic “Lions”; Anthony Carlucci from fellow BBR band Post Harbor lending guest vocals in the final minutes of "Knob Creek Neat," an ode to "battling your demons, whatever they may be," Harmann says; Corson playing bass pedals on “We Are Professionals” and surging closer “Occam’s Razor”; and Toby Campbell plays violin on “Estrella,” inspired by Dale’s guitar playing on a song named after the Spanish word for star.
“When you make a record you want to love every song on it,” Harmann says, obviously proud of his compositions and his collaborations with all these talented people. Various people have tagged his work everything from "beautiful and expressionistic" to "mope rock." "Call it what you will," Harmann says, "but at its core, its rock and roll. It's dirty and imperfect. It's quiet and loud."
And on "Risk" it's truly beautiful and powerful.
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"Risk (Burning Building) the 6th album from Daniel G. Harmann & co. is a first-rate set of moody indie-pop with rumbling, atmospheric guitar lines that explode into crunchy, rangy solos combined with soft, wispy vocals and a variety of catchy pop hooks - try 1, 2, 3, 4, 5, 6, 7, 8, 9 & 10."
- Don Yates, KEXP (Seattle, WA)
"After just one listen, it's easy to see Daniel G. Harmann & the Trouble Starts shows oodles and oodles of promise. The band's new album, Risk, isn't necessarily a risk, even if the lyrics reflect risky behavior or the desire to take some chances. Really it's a beautifully composed album that's perfect in many ways musically. There's plenty of airy, sonic landscape without sacrificing any hooks. There's a fuzzy shoe-gaze like sound here mixed with the post-rock beauty and flair of bands like God is an Astronaut or Explosions in the Sky. Some songs do sound like pieces by those bands, but with lyrics to go with them. This is a powerful album that can blow you away without having to feel loud or forced. There isn't really a single disappointment here. Risk isn't a risk. It feels just right." (Grade: 9.5)
- buzzlegoose.com
"...Using vivid imagery, Harmann's songs here detail personal accounts of hard labor, love for his family, battling demons, as well as several other pivotal topics in his life. A variety of different autobiographical stories are shared, and similary Harmann and The Trouble Starts play an eclectic style of music that shares many differerent genres across the rock spectrum.
From gentle guitar strumming to louder, soaring moments, Harmann and company play soothing, gentle folk inspired rock that brings to mind lo-fi moments of Sebadoh or the melodic and fuzzy droning of bands like Sonic Youth. The occasional female backing voice makes this even more delicate, and the buzzing guitars are often only a starting places for building epics layers of melody that erupt into majestic tracks or warm instrumentation and warm harmonies.
As a reference point maybe think the sensibilities of Jeff Buckley crossed with the hauntingness of The Smiths with some Sigur Ros sprinkled on top. Well, even that comparison probably isn't entirely accurate as Harmann is truly a unique songwriter, encompassing so many varied styles and sounds that even the most educated listener would have a hard time pinpointing this. Though at it's core it is rock'n'roll disc, it moves from sparse to detailed, loud to soft, and pushes and pull with graceful tension, never staying in one place too long.
An amazing disc here, this needs to be listened to repeatedly to truly be appreciated- one of the years best for sure."
- om Haugen, go211.com
"Harmann’s aching tenor will be the first thing that people latch onto when they hear these 11 tracks – even at their most hushed and reverent, they can pierce even the loudest sections of music. He’s also cobbled together a great supporting act with The Trouble Starts: the guitars are evenly chiming and gruff when need be, and they respect their place in the mix, while the rhythm section is pulsing with energy, providing solid footing in case Harmann’s vocals try to float away into the ether. Most importantly, instrumental restraint is the name of the game, in that, despite the frequent spikes in volume and intensity, there isn’t much excess to be detected. These musicians give the songs exactly what they need and no more, which gives the highs and lows equal impact, as they’re not arranged in the traditional quiet-loud-quiet-loud format... Risk is strong, meaty material that’s purposeful and resolute in tone. Deliciously dense waves of crunch, feedback, and overdrive are matched effortlessly with Harmann’s voice and the slew of folks who provide the excellent background harmonies. Daniel G. Harmann & The Trouble Starts have put together an overall solid album, one that I plan to suggest to a few of my musician friends to give them a bit of fuel for their song-writing fires."
- dryvetymeonlyne.com
"Apparently I'm late to the party on Harmann and company due to the fact their new album Risk is their sixth release. This Seattle-based band has been doing the circuit for a number of years, but if their earlier work is anything like Risk I'm going to be doing some catching up quite soon. While their bio says others have compared them to Jeff Buckley or Elliott Smith I hear many other things in their music. Part of it sounds a bit similar to Band of Horses, other parts remind me of early Slobberbone, and yet at other moments I'd swear I'm almost hearing Sugar, though I'm sure nobody else hears that and I can even convince myself I'm nuts. The bottom line is that Harmann and his band The Trouble Starts have an instantly familiar sound, yet don't sound just like anyone else... you should check out Daniel G. Harmann & the Trouble Starts as Risk is an excellent release."
- subpopstar.com
"On his sixth (!!!) album, Daniel G. Harmann took a few stylistic chances, most of which pay off. With an album title so on-the-nose it’s almost ridiculous, Risk finds the singer/songwriter backed by the Trouble Starts, who add a slight influx of muscle to his melancholy tunes. The songs are still ethereal and folky in parts, but the Trouble Starts allow Harmann to branch out more. Risk is an ambient pop record that fulfills a lot of needs. It’s otherwordly and dreamy enough to be a good 3 a.m. record, but it’s neither formless nor self-indulgent in being as such. Harmann is still a craftsman at heart, and these tunes have a focus"
- picassoblueyo.blogspot.com
"isk has a lot of subtle elements that don’t come out the first time you listen to the album. While the focus of Harmann and his musicians is often on fairly laid back melodies that drive each song along, what listeners may not initially notice is that the material is all very textured and creates an enticing atmosphere... ou’ll want to come back for more."
- Chris Dahlberg, cosmosgaming.com
"I say that because Daniel G. Harmann‘s Risk is a change of sound. It’s not a dramatic change in sound (i.e. Plans –> Narrow Stairs), but it is a fundamental shift in the purpose of the tunes. While Harmann still makes grand, sweeping, morose tunes, he’s making them this time with the express intent of rocking while doing it..."
- Stephen, independentclauses.com
"I knew absolutely nothing about Daniel before the album "Risk" hit my inbox but soon after I was scouring the earth for everything. My goal was to figure out how such a simple but unique combination came from. All I figured out was that I love this album and simply it's an honest album that dares to jump into genres and moods with trust that you do too. The album, entitled "Risk", brings in The Trouble Starts to give Daniel's solo work a few more pieces which succeeds on many levels. Half way through the album we are greeted with our first great rise of emotion with "Knob Creek Neat" and its Sigur Ros guitar work plastering a feeling of complete bliss over the ears. Daniel's voice knows when to take the lead and carry a song as with "Dee" and then sits back and lets the song takeover for the best ending to a song I have heard all year. Couple other tracks from the album not to miss are "Brass Tacks" and "The Horse & The Sistine Chapel"... Have I given you at least a few reasons by now to be listening along reading this? There is no way I can pigeonhole this album to you but to say, buy it and if you at all relate to these past adventures in sound, you are in for a treat that either side of the Atlantic will enjoy. Old or new. "
- Wentz, washedupemo.com
"Daniel G. Harmann creates music that is diverse and lush. The songs on Risk, his sixth album, vary across the spectrum from mellow to rocking. It’s essential guitar driven, but not the standard rock sound. It’s emotive and moving."
- thewheelsstillinspin.com
"Harmann sometimes sounds like he's throwing his vocals from some ethereal fog. But his music makes that work. This jumble of indie rock attitude and tight craftsmanship is quite appealing..."
- aidabet.com
"Offering eleven tracks worth of extremely moody, intense, and melodic rock, Daniel G. Harmann and his group register strongly with an incredibly dense and atmospheric album that lingers long in your mind after you’re finished listening to it. Harmann’s soft, slight, yet sturdy and compelling voice and thoughtful and reflective songwriting deliver a potent one-two punch full of rare and refreshing maturity and intelligence. However, it’s the complex and intricately layered arrangements which lift this item well outside the ordinary: brooding basslines, quivery ringing guitars, and subdued, but persistent drums all come together to create a haunting, swirling, and harmonic buzz of a captivating sound that positively drips angst and emotion from every anguished note. A fine and impressive album."
- jerseybeat.com
"I’d never heard of Daniel G. Harmann before I permitted his sixth album, Risk, to visit my ears several times in the past couple of weeks, but I really would like to meet him now. His lyrics and voice invite me, encourage me to make his acquaintance, even as they are drenched in sorrow, displaying a hard-working artist who’s tender and raw, despite the tough fronts he often erects. And while I detect the sounds of Low and the emotional frankness of a Blake Schwartzenbach, the automatic touchstone for most people who hear this record will be Mark Kozelek and his work with Red House Painters and Sun Kil Moon. To put a finer point on it, these songs strike a poignant balance between mysterious depth and haunting intimacy, and this delicate teeter-totter of moods is what gives this release its power."
- dryvetymeonlyne.com
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