There is some artistic point, some hidden unrealized genius, some old time revival tent meeting evangelist behind the tortured, yet childlike, of Daniel Smith that is crying out on Danielson’s third release Tri-Danielson!!!. The record completely messes up song structure and melody to create a truly unique excursion into the depths of “pop art.” Warholian in nature, it clambers for its fifteen minutes of fame, and is, apparently, getting it (see various articles and reviews in other publications). Like Warhol, Smith takes the mundane (acoustic instrumentation and stripped down organs) and shapes them into the bizarre. Only the movers and shakers could get it.

The record is broken up into three distinct personalities of Danielson: Brother Danielson (stripped down acoustic), Danielson Familie, and Danielsonship. The record revolves in threes, each personality providing a song. This happens four times for twelve tracks total. This concept is pretty interesting, and Smith pulls it off well. Each personality of Danielson offers twisted acoustic-dominated pop songs. His falsetto hits the stratosphere at unlikely times as the music drops out with percussion still revolving like a broken record only to snap back to reality and take off with the melody driving. Smith has honed his songwriting to be truly unique.

Brother Danielson starts off this rotation with “Southern Paws.” The track begins well, but when Smith kicks in that squeaking, screech called vocals, one winces. Without the simple backing vocals of siblings Megan and Rachel, the song would be unbearable. Next up is the Familie’s “Rubbernecker” which is a catchy, circus-like track that features Smith squawking and squeaking furiously. Danielsonship completes the first trifecta with “Body English” where Smith truly showcases his annoying vocals. The Ship songs are easily the darkest and weirdest ones on the record.

As the record follows this circular pattern of threes, Smith takes one a mesmerizing and confusing excursion. From the interesting instrumentation (xylophone, banjo, piano, various percussion) that is rivaled by Olivia Tremor Control to the wide range of that falsetto, Smith is out to take the pop song and completely screw it up. For example, “Btwn the Lines of Scout Sign” has Smith sounding like a crazed tent revival evangelist. This song chugs froward with organ and handclaps while he signs/screams about how the beloved Norman Rockwellian/All American Boy Scout sign can take away the profanity of the middle finger. A melody is buried in short bursts underneath Smith’s iconoclast delivery. An absolutely brilliant lyrical concept unfolds. Unfortunately, it is marrred by Smith’s delivery, which is completely annoying.

Nevertheless, there are times where that voice fits excellently with the song. Danielsonship’s “A Meeting with Your Maker” is one song where this is true. The Voice is reminiscent of The Pixies’ Black Francis when he was at his craziest. This fits the dark, nearly sinister, feel of the song. The song ascends and descends, stops and stutters with the instruments dropping in and out as Smith stumbles into the melody. It is compelling and extremely creative. But, moments such as this are few and far between.

By the eighth track on Tri-Danielson!!! things become more tolerable. This is just too late. Having endured seven tracks of the same repetition, one becomes tired and turned off. “Gorgeous New Age” is the turning point with a “harder” or “heavier” acoustic guitar and well used sleigh bells, Smith offers a fine whacked out pop song. The use of rhythm and organ on “The Elderly and The Little Ones” makes this song interesting. The song also demonstrates the profound weirdness that lies in the head of Smith as he chants, “Gonna lift her off my head” and the drums revolve in a weird tribal beat. “Holy Kissers Block Party” circles around and around seemingly going nowhere. It is funny when Smith sings, “Get your rear in gear,” and when said, the song does exactly that. Smith brings the record to an end with the extraordinary track, “Lord, Did You Hear Harrison?” This song is easily the strongest on the record, with an excellent guitar and follows a more “traditional” song structure.

Tri-Danielson!!! has been considered genius by many, but seems to be more novelty. Take the banter on “Pottymouth” which is amusing, but the so was the Dead Milkmen’s “Bitchin’ Camaro.” “Flesh” contains a great message to ignore the color of a person’s skin, and only look to the inside, but the “dramatic”, coffeehouse poet delivery is trite. Because of tracks like these and that voice of Smith’s, the record flies high on the “novelty” factor. But like Warhol’s product, Danielson can transform the mundane into art. How else can you rationalize that chirping voice?

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