by Heather Phares
Smog's seventh full-length album, Knock Knock, proves to be singer/songwriter Bill Callahan's subtlest collection of songs yet. Indeed, one of the album's greatest accomplishments is its gently optimistic tone; if his other albums made a deadpan joke out of misery, on this album Callahan delivers the punch lines with traces of a grin. It's a moving album on many levels; not only do the songs have Smog's usual emotional intimacy, their subjects move away from difficult, claustrophobic situations toward maturity and acceptance. &Let's Move to the Country& and &I Could Drive Forever& are all about escape, whether it's from the rat race or bad relationships -- &I feel light and strong,& Callahan sings on &I Could Drive Forever,& summing up Knock Knock's lyrical tenor. But moving also implies distance. As the album travels the emotional spaces between people, Callahan himself seems more removed from these songs; more than ever, his songs read more like short stories than diary entries, particularly on &River Guard,& about a warden watching prisoners swim, and the enigmatic &Sweet Treat.& &Cold Blooded Old Times& and &Teenage Spaceship& capture the awkwardness of youth, while &Left Only With Love& accepts a lover's departure in stride. Musically, Knock Knock builds on Red Apple Falls's folky, flowing sound, but throws in twists like drum loops, electric guitars, and, surprisingly, a children's choir. &Hit the Ground Running& combines all three elements, driven by rolling guitars and accented with strings, with the children's choir urging Callahan on his way. &Held&'s drum, guitar, and feedback loops take a collage approach to a classic rock sound; along with &Cold Blooded Old Times& and &No Dancing,& it's one of Callahan's most up-tempo songs since 1995's &Wild Love.& Over time, Knock Knock reveals itself as one of Smog's finest moments.