Votolato’s ‘Hospital Handshakes’: an unwanted change in pace

The Pacific Northwest music scene is perhaps best known for its integral role in the folk revival, and with it, the popularization of the modern alt-country genre. Seattle-transplant Rocky Votolato has spent more than 10 years earning his spot among the success of folk-alt acts like Daivd Bazan and Damien Jurado. But after myriad doubts and personal troubles, how does Votolato plan to remain relevant in a brave new world of sounds?

Votolato answers these speculations with his new record, “Hospital Handshakes,” trading his beloved acoustic simplicity for a muddled, rock-inspired sound. The result? A well-meant change of pace, but an unsuccessful departure from what his listeners know and love.

The press release for Votolato’s new record cites its inspiration as triumphing over depression and trauma, over crippling doubt in his career and a newfound commitment to his music. Sure, there’s nothing wrong with a redemptive story, but not in a folk album. Votolato excels best in his head-hung-low sound, but sadly for “Hospital Handshakes” listeners, melancholy favorites like “Passing White Daisies” are nowhere to be found.

In the true Pacific Northwest style, Votolato’s studio band is a mishmash of his friends and colleagues, familiar Seattle-based artists to his audience. For the album’s production, Votolato enlisted the help of Chris Walla, former songwriter, guitarist and producer from everyone’s favorite middle school band, Death Cab For Cutie. Other collaborators include members of notable bands like The Blood Brothers, Craft Spells, My Goodness and Sufjan Stevens.

Whether it’s because Votolato’s work is suited best by the minimalistic production of most singer-songwriters or because Walla’s familiar production style tends to bleed heavily into all his projects, “Hospital Handshakes” ends up sounding like a blend of rock, folk and some electronic elements. Notably on tracks like “So Unexpected,” distinctly Walla-esque synth sounds and vocal layering lose what make Votolato’s songs both endearing and convicting.

Over spring break, I caught one of Votolato’s shows amid his current West Coast living room tour, where I saw a mix of his “Hospital Handshakes” and older material in action. Votolato performed in true Northwest fashion: odd spaces with small crowds, just a man and his guitar, but it was his transported crowd that reminded me why artists like Votolato still make an impact.

Far from the showy studio gimmicks and questions of relevancy is where Votolato’s music truly shines. It reminds us that sitting on the floor, listening to beautiful songs on nothing but a guitar will never feel outdated. Maybe it’ll be Votolato’s next big revelation.