Album Review: Dan Kibler – Idiomatic
I wouldn’t necessarily bet my retirement savings on it, but if Discogs is correct, Idiomatic is the first new release from Dan Kibler since his self-titled album from 2012. As it happens, I reviewed that one, and I’m pleased to have this latest one in hand.
More than a decade ago I characterized Dan Kibler as a kind of power pop with twang, akin to the work of Tom Petty. Time has a way of changing things, but in this case I don’t know if it’s Kibler or me. The album’s opening track “This World” feels less countrified that what I recall of his previous offering. The soaring guitar lead sounds almost as if it was executed using an ebow. Ain’t nuthin’ c&w about that. Technical questions aside, it’s a catchy tune with a memorable melody, nice harmony work and some spirited drumming.
“Rail Me Down” features lots of earnestly strummed acoustic guitars, assertive bass and another catchy melody. “See You There” combined a contemplative character, wordless vocal harmonies and some lovely twelve-string guitar. “Don’t Go for the Money” rocks harder, with an infectious, swinging vibe. The production aesthetic is straightforward, and suits the song perfectly.
The midtempo “I Don’t Like You” employs some nicely Leslie’d electric guitar, a loping melody and some alluring chord changes. “I’m Still Here” has a gospel-by-way-of-The-Band character. With its gentle yet assertive picking, “Mystery Girl” evokes – intentionally or not – some of the best alternarock of the ‘80s. It may be the best cut on Idiomatic. “Fear What You Know” ups the distortion quotient, but adds a driving bass line and soaring harmony vocals to sweeten the recipe; it feels a bit like prime-era Posies or Greenberry Woods.
“Words” – not the Monkees tune – lifts its drum pattern from any number of Phil Spector productions. Its melody is warmly familiar, too. But the result somehow feels original and compelling. With some highly effective keyboard textures, it gives “Mystery Girl” a run for the honor of the album’s finest track. And the last track, “You’re Gone” is another winner, an impassioned rocker that distills all of the album’s virtues into a single song. As fine as Kibler’s 2012 album is, a decade-plus later he’s managed the feat of besting it with Idiomatic.
About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). The 4500-plus interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he taught a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- more than 30 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: Great Concept Albums will be published in 2024. Read even more about him here.