Average Rating: 
Rating:  - Pitchforkmedia Review 8.9 out of 10. Exceptional!
Calexico have always been restless experimenters, juxtaposers and journeymen, crafting a unique fusion of bluesy Mariachi, desert-rock and jazz, and injecting healthy doses of experimentation into the otherwise straightforward records on which they've made guest appearances. Yet, for their innovation and distinctive sound, their albums have always had their weak spots-- moments in which their ideas seemed to be running away with the band's ability to execute them. That time has passed. All of Calexico's previous strengths come home to roost on Feast of Wire, the band pushing their experiments further than ever before and pulling each of them off unfalteringly. In short, Calexico have created their first genuinely masterful full-length, crammed with immediate songcraft, shifting moods and open-ended exploration.A brief acoustic guitar figure and pounding waltz beat open things at a crisp gait. Joey Burns quickly intones with the lines, "Washed my face in the rivers of empire/ Made my bed with a cardboard crate," immediately establishing the tension of the borderline that pulls Calexico's music in its many directions. Burns is suddenly a singer-- he's always made do with what he had, but the limitations that were once so apparent have developed into a strong and confident tenor, assertive and emotive. The music behind him feels bolder and more courageous, too, as the veil of obscurity that guarded so much of their previous releases has vanished. The detail of this album is utterly stunning, as melodies rise against countermelodies, subtle electronic processing seals guitars in amber, and instruments blend in fascinating and unpredictable ways. The band keeps things tight and concise across sixteen tracks, and John Convertino's drums corral the rush of sound into all the right spaces, pushing the steel guitar motifs that color the background of "Quattro (World Drifts In)" up to meet Burns' vocals and beating back the bombastic strings that cascade over "Black Heart" like a desert thunderstorm. "Not Even Stevie Nicks" is pristine pop that makes me wish Burns would find more occasions to use his falsetto. It also makes me wish he'd print his lyrics, even if lines like, "With a head like a vulture and a heart full of hornets/ He drives off the cliff into the blue," convey such a rush of emotions that they virtually fill in the blanks by themselves. He's still full of border stories, too, with narratives like "Across the Wire" packing up tales of dodging the border patrol and leaving everything you know for the abstraction of hope. "Woven Birds" is a hushed reverie for an abandoned mission that even the swallows have left to the ghosts, building to spine-tingling moments where the vocals, Melodica and vibes all meet on the same note and coalesce into a single sound. The piano and strings of "The Book and the Canal" serve as a moody pivot into the album's mostly instrumental second half, though the darkness of that piece is largely swept aside by "Attack El Robot! Attack!", which mashes Pharaoh Sanders, Portuguese guitar and German IDM into a beautiful stew of sci-fi strangeness. "Dub Latina" and "Crumble" show Calexico burrowing deeper into jazz than ever before, with the latter featuring fluid guitar, trombone and trumpet solos squaring off against each other over a white-hot groove. "Güero Canelo" is a curious flamenco strut built around what sounds like a distorted Speak-n-Spell sample and sliding sound effects, while "Whipping the Horse's Eyes" and the closer, "No Doze", each examine big skies and desert stillness-- one with steel guitar and bowed bass, the other with bowed vibes, nylon strings, static, percussion and steel. Burns is back to a whisper on the closer, but here it strikes as though he's trying not to wake someone sleeping in the room rather than shielding the listener from his limitations. Calexico have always threatened to make a spectacular record, and even came close on 1998's The Black Light, but having spent the last three years honing their skills has paid off for them in ways no one could have predicted. Feast of Wire calls on a stunning, finely kept arsenal of genres, textures and images to transport you to the Southwest's forgotten places and put you in the shoes of the people who stare across the border in both directions. It is the album we always knew they had in them but feared they would never make. -Joe Tangari, February 24th, 2003
Rating: - A feast of post-Mariachi rock music
In a way the reviewer from Phoenix sums it all up, because if you believe in a world strictly divided into simple categories by intransigent boundaries, Calexico's music obviously isn't for you. Gringos shan't play with mariachi bands just as the white hillbilly kid from Tupelo, Miss., had no business stealing that negro groove (or even worse, their gospel music), Robert Zimmerman turned into Judas when he picked up the electric guitar and Sandy Koufax should have been driven off the mound because Jews don't play baseball. Boundaries are easy ways out for those who want to avoid the harder task of judging a work on its merit rather than by the classifiers it reinforces or breaches, and Calexico have always made it their business to negate the borderline that separates the Sonoran desert into a Calexican and a Mexicali part (which might explain in part why they're so much more popular in boundary-infested Europe than in their home country).For those who appreciate Calexico for who they are, this album is amazing. For most of the album Calexico's high wire (sic) act between the populist and the intricate works out perfectly, and unlike some of the earlier albums Feast of Wire actually flows. Sunken Waltz and Quattro find a perfect way to match the groove of the music and the sobriety of the message, and Black Heart even manages to top this feat. Ironically, for the most part the mariachi elements are muted and make place for a more pronounced European influence: the string arrangements on Black Heart and Close Behind recall Goldfrapp, Yann Tiersen or Francoiz Breut's stunning Vingt a Trente Mille Jours rather than Mariachi Luz de Luna. (Again, the influences here are mutual and far from a crowd-pleasing career move.) The instrumentals, long the Achilles heel on Calexico albums, work out perfectly and for the most part do what they are supposed to: link the vocal tracks and lead from one idea to the next. If there is one thing to complain though, it is that the album is frontloaded with vocal tracks (pandering to listening boothes?), and the album peters out on four quasi-instrumental tracks (especially the somnambulant No Doze) rather than end with a bang. But even with this minor blemish Feast of Wire is Calexico at the height of their skills and a strong contender for my album of the year.
Rating: - review of a review of some great musicians
There are a few reviews here that do a better job describing the music than I can, but I couldn't help but write a rebuttal to the "music fan" whose single star rating for this band seems to come solely from his opinion that "gringos" can't or shouldn't have Hispanic influences in their music. All I can do is roll my eyes. If you flip back through your history book, and you only have to flip a few pages, you'll see that with the exception of possibly food, music is the main blending point between cultures. Sure, sure, the cynics will call it musicians ripping each other off, but in reality, there's a ton of cross pollination that goes on willingly when musicians from different backgrounds meet. Whose to say what's "valid" or not?Anyway, if you listen to Calexico I think you can say it's flavored with plenty of south of the border flourishes and instrumentation, but it certainly isn't trying to ape another style. The singing has this romantic, kind of creepy low key feel. I was pleased to see (hear) the improvement in the singing. While I still think that Black Light is the most exciting and exotic of their albums, Feast of Wire is made very accessible by singing that's in tune. Rather than sounding like inter-scene music for a southwestern themed film, this album has actual songs -- something that should appeal to folks who like such things. But what do I know, I live over 1000 miles from the (southern) border.
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