
With the exception of “El Otro Lado,” Subtítulo by Josh Rouse is an undifferentiated exercise in general blandness. The album exhibits that forced “European” feel (no doubt fueled by Rouse’s move from Tennessee to Spain) that is prevalent in so much of the music played at “lifestyle” stores such as Restoration Hardware. It’s the type of album enjoyed by upwardly-mobile effete young adults who, in frighteningly large numbers, tend to enjoy music that possesses an air of false sophistication and requires little from the listener other than passing attention. The album’s light Latin/French jazz instrumentation is mildly pleasant but not particularly engaging, and most of the lyrics are so one-dimensional that it’s difficult not to cry out for a hint of nuance or depth.
In “Jersey Clowns,” Rouse seems to be desperately trying to create a significant and moving portrait, but all that is apparent upon listening is the attempt itself rather than a truly worthwhile payoff. You can sense his deep and noble desire for insightfulness, but the observations are too commonplace and rendered in such standard language that they don’t possess any gravity. In “Summertime,” he dons an absurd vocal affectation that comes across as a desperate plea for “coolness” and is more laughable than effective. The songs roll along in an even and stagnant chain with no kick, little energy, and no demand for the listener’s attention.
Yet somehow, despite all of this, Rouse creates a true gem at the end of the album with “El Otro Lado.” This is the only track that grows outside of its literal meaning. It’s moving, evolving, and building into something larger in a way that the rest of the album just can’t seem to do. It feels organic, natural, and unforced to such a great degree that you wonder what was happening with the previous nine songs. There’s a feeling that this was the only time Rouse actually released himself and gave in to impulse. If he could construct an entire album in the way he fashioned this single song, there would surely be great praise to follow.
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Kyle Wagner