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Plumb
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For Plumb,
trying to stay on top of things has been a way of life. Since
Tiffany Arbuckle and her band gelled together shortly after
the recording of the first self titled album, with multi-platinum-selling
labelmate Jars of Clay, all the while watching Plumb sales
climb to over 100,000 units out there, life has been one wild
ride.
Now, with the
release of a sophmore project on essential records, she and
the band sound as though they've had a minute to catch their
breath, stretch, think over things a bit, and expand the signature
aggressive sound. Candycoatedwaterdrops has what plumb fans
have grown to expect-taut, crisp modern rock that beats with
an uncommon strength of conviction and pointed artistry. But
beneath all the clamor and energy, a broader, subtler, more
human feel emerges in these songs, most of which are augmented
with breaths of fresh air by such elements as real drums,
real bass, and real orchestras (the London Symphony, as a
matter of fact). Plumb, has made a subtle change. Truthfully,
it would've been perfectly logical for Tiffany to play it
safe and make Plumb II, but to hear her explain it, Plumb's
evolution has everything to do with becoming a true artist
over intense periods on stages, in a van, or on a bus. "Most
of the first album was literally a stab in the dark,"
she says, recounting the now-familiar story about how she
barely new her own name before she was signed and recording
an album that turned into the largest new artist debut of
the year for the distribution company, Provident Music Group.
"This time, its more of who I really am," she says
smiling. "This album is a reflection of the first year-and-a-half
I've spent on the road as an artist, instead of my start as
a backup singer. Its more mature, more timeless," she
concludes. While Arbuckle feels her debut was most readily
accessible to teens, she says Candycoatedwaterdrops possesses
a broader appeal, and showcases the emotions and day-to-day
life of herself, and those closest to her, while still all
the while figuring out who she is individually and collectively
with a band. This album is a product of growth, and she firmly
believes artists who have the most longevity are always adapting
while remaining true to themselves and where they are creatively.
Tiffany comes to the front on Candycoatedwaterdrops, often
intoning words and stories like a more impassioned Suzanne
Vega, with a nod towards influences stretching from Patty
Griffin, Alanis Morissette and Garbage, to Sarah Mclachlan
or Sheryl Crowe. But despite stretching, growing, and changing,
one aspect of Plumb that remains rock solid and constant is
Arbuckle's overriding mission to shed light upon dark places's,
especially subject matter many artists, and christians especially,
don't feel comfortable addressing. "Damaged," a
nearly whispered word-and-sound painting of a woman struggling
with the aftermath of sexual abuse, is one example of the
difficult territory where Plumb roams. But Arbuckle wouldn't
have it any other way. "Physical and sexual abuse is
such a far-reaching theme," she explains. "I've
received so many letters from people why feel like they have
baggage because of it..and that no one is ever going to really
love them. That they'll never marry, or that they just feel
so alone. It's my effort to share hope. "Phobic"
with it prominent-yet restrained and familiar drum loop speak
directly to those about the true fear of God. "It's about
how some can get extremely phobic about fearing God; about
how so many people think the "fear of the Lord"
means to be scared of Him," Arbuckle says, a hint of
exasperation in her voice. "Christians , not just people,
are going to mess up, sure. And God is a God of consequences,
just as He's a God of love. But He certainly doesn't run around
with lightning bolts. Grace still isn't a license to do wrong.
As Plumb isn't shy about controversy, it should come as no
surprose that Candycoatedwaterdrops has at lease one title
that's sure to raise some eyebrows: "Drug-store jesus",
note the lower case "J". "I'm bracing myself,"
Arbuckle says with a slight chuckle. "It was originally
called "Drug-store Cowboy", but it became a song
about how some use Christ for cheap cover-ups, or are a cheap
imitation of the real thing, much like what you purchase in
a drugstore. Like a T V evangelist who's affiliated with Jesus
just because of the fame and glory and money involved. But
the song can be applicable to any person who is throwing his
or her own soul away, by using their position given to be
a hypocrite. Controversy or not, Plumb's aspirations are most
pointedly voiced in a moving story-just one of those out-of-the-blue
moments from the road, that Arbuckle often likes to re-tell.
It seems she was on a promotioanal tour for her debut, when
one show venue turned out to be smack-dab in the middle of
the party strip in Myrtle Beach, South Carolina. After Plumb's
show, the bartender asked Arbuckle if she could talk to her
outside. Through teary eyes, the woman explained that she
had no husband, was trying to get her truck driver's license,
and was nervous abot where her life was heading.
"You sang
a song tonight "Send Angels". Are you believers?"
the woman asked. "It depends on what you mean, "Arbuckle
replied. "Are you christians?" she said. "Yes,
we are" Arbuckle replied. More tears. "I want you
to know how much I appreciated you not telling me you were
christians, you let me see that you were." Funny how
that conversation captures the essence of candycoatedwaterdrops.
Boldness with subtlety. Power with tenderness. Bright lights
with great mysteries attached. Living out her faith and "using
words if necessary." For Plumb the exciting ride continues-and
continues in an exciting and adventurous direction.
 _.:Plumb
Official Site
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