Live Review: The Rural Alberta Advantage @ Drunken Unicorn, October 2

By Alexandra Edwards

If the
critics peg you as the next big insert-seminal-indie-band-here, is it all
downhill from there?  Is there any way to step out of a shadow you never meant
to get under in the first place?

These were the questions that The Rural
Alberta Advantage
were most definitely not contemplating this past Friday night
at the Drunken Unicorn. The band released their debut album Hometowns in
2008 to a veritable avalanche of Neutral Milk Hotel comparisons, most of them
favorable, but nonetheless intimidating. Lesser bands might have let the
comparisons get to them, but not the RAA.  Friday night found them here in
Atlanta for the first time, doing what they do best: forgetting all about the
critics and just playing as hard as they can.

The band set up quietly in
front of the small crowd, pushing all their instruments to the front edge of the
stage: Amy Cole on the left with a tiny keyboard, tiny marimba, and one big
floor tom; lead singer Nils Edenloff in the center with microphone, Casio
keyboard and acoustic guitar; and a small but powerful drum kit on the right for
Paul Banwatt. They began with an energetic sing-along, trading beats on the
floor tom, setting a tone of intimacy and casualness. But as Banwatt kicked in
on the drums at the end of the opener, the walls shook and the crowd perked
up.

Edenloff explained the stories behind some of the songs, most of
which were about central and northern Alberta, Canada. His loud, nasally wail
is occasionally reminiscent of Neutral Milk Hotel's Jeff Mangum, but as the RAA
played through their hour-long set, it became clear that they have imagery and
style all their own. Songs like "Edmonton," "The Deadroads" and "The
Dethbridge in Lethbridge" painted eerie but beautiful pictures of growing up in
rural Canada. Oil booms and busts, sarcastic town nicknames, dead grandfathers,
and empty streets — all butted up against joyous beats and that surprisingly
aggressive acoustic guitar.

In the end, it's to our advantage that the
RAA has sidestepped those shoes the critics tried to make them fill. They're
much too good in their own way.

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