Welcome to the Welcome Wagon - The Welcome Wagon

Welcome to the Welcome Wagon

The Welcome Wagon
Asthmatic Kitty Records.

SCQ Rating: 72%

Upon first hearing the folky strums and stunning piano that open Welcome to the Welcome Wagon, one can’t help but be reminded of Sufjan Stevens. The Brooklyn couple behind these songs wouldn’t even begrudge the correlation, since Vito and Monique Aiuto were first heard - and Vito nearly misrepresented as a dead-ringer for Sufjan – on 2006’s Songs for Christmas. As if the ghost of Sufjan’s gentle timbre isn’t already haunting the Welcome Wagon, this debut features arrangements and meticulous production all courtesy of Mr. Stevens, which threatens to overshadow these quaint songs of religious longing.

Wait… religious longing? Yah, no kidding; one glance at Welcome to the Welcome Wagon’s cover might send happily-agnostic listeners running for worn-out copies of Illinoise. That bible and psalm adorning the record isn’t just for show, either…; split between original and traditional songwriting, the Welcome Wagon embraces its muse as authentically as any local Sunday service. ‘But For You Who Fear My Name’ is a loveable stomp of brass and handclaps that celebrates God’s word, while ‘Jesus’ carries an entire choir of worshippers to belt out its glorious gospel. Throw in an unexpected rendition of a Smiths song (‘Half a Person’) and shout-outs to some Presbyterian Psalters of the 17th century and you’ve got the strangest, hippest holy album of the year.

The whole thing flows better than it has any right to thanks to mastermind Sufjan Stevens, who adds a ton of variety at the risk of sacrificing these humble folk songs. ‘Sold! To the Nice Rich Man’ introduces familiar trumpet sighs and extensive backing vocals, acting as the first of many tracks that rummage through Sufjan’s increasingly common bells and whistles for inspiration. In some cases it works, although songs like ‘You Made My Day’, with its purposefully hackneyed brass-swagger, only weaken the quality of Vito and Monique’s songwriting. It’s very telling that Sufjan’s best contribution is the shortest track here; a virtual segue (‘Unless the Lord the House Shall Build’) that finds producer and performers tackling their own responsibilities. It’s further revealing that the two best songs on Welcome to the Welcome Wagon are indeed those written by Vito Aiuto. ‘Up on a Mountain’ and ‘American Legion’ succeed not only because they remain modest in the face of some extravagant production, but because they stir emotions in their naked state better than several tracks do in their Sufjanized makeup. Such is the give and take of Mr. Stevens’ involvement; his shimmering production often adds an unfavorable gloss to this material’s rustic nature.

The best way to approach the Welcome Wagon is no different than how to best approach a given religion: with an open mind. Nothing about this self-described “Sunday Sing-a-long” is preachy or critical and while the lyrical content deals almost exclusively with worship, the music is universally ideal for quiet evenings. Welcome to the Welcome Wagon is a bit of a hail mary for some indie-fans but a solid folk album for the rest of us.