John Vanderslice is an American Four-Tracker. He’s declared it on an album(Life and Death of An American Four-Tracker), he’s built a retro recording studio(Tiny Telephone) based on his love of doing things simply and earnestly and he plays each show like a kid playing his newest creation for a group of close friends in his mom’s basement. Of course, he also happens to be one of the most engaging songwriters working today, able to conjure up such vivid imagery and well-rounded characters that you wonder if he’s either a schizophrenic or a peeping-tom.

Yet, he’s on a small indie label (Barsuk) and plays shows to groups of 300 to 500 people (sometimes less, sometimes more) who are dedicated fans, but are also probably the only people they know who have the slightest idea who John Vanderslice is.

While this makes going to see John play live a wonderful, intimate, euphoric experience, when you step back a bit, you’re still kind of disappointed that there aren’t more people there to enjoy the show with you. On the other hand, you don’t want him to be big like U2; overplayed on the radio and soullessly touring 20,000 seat arenas. It’s a contradiction that many fans of smaller bands and artists face all the time, the desire for the bands they love ardently to have fame and fortune and recognition, while shunning bands who do have those same trappings.

As it is, John Vanderslice seems to be perfectly content with where he is in life. In interviews, he’s jovial and engaging, always excited about what he’s working on next or what he just finished. He’s constantly collaborating with friends and other bands on music and recordings. He even busks on sidewalks on occasion, just for the hell of it. For a guy that’s soon to turn the ripe old age of 41, he has a lot of pep in his step.

Of course, this is all readily apparent in his music. Although he’s firmly rooted in the guitar-bass-drums-vocals camp of rock music, other influences bubble up all the time. Be it hip-hop, folk or techno, his myriad of influences are evident in each of his records.

But, that doesn’t meant that he’s not inclined to be serious. Both of his last two records, 2005′s Pixel Revolt and 2007′s Emerald City, have songs that reference the attacks of 9/11 and the subsequent “war on terror.” In an era sadly devoid of high-profile protest songs, some of John’s best work, songs like “Exodus Damage” (Pixel Revolt) and “The Parade” (Emerald City) would, if they could get airtime, easily fill that space. In fact, Emerald City was named after the nickname given to the Green Zone in Baghdad. For a songwriter that can imbue so much life to fictional characters, he brings even more of a vivid clarity to the events that are swirling around him and all of us during these trying times.

In closing, Vanderslice’s music is as engaging, tumultuous and vibrant as anything out there today. It’s just a damn shame the guy can’t garner some more attention.

John Vanderslice – White Dove.mp3

P.S.-If you’re interesting in checking out more of his stuff, he has a large repository of mp3′s on his website. There’s stuff from his albums as well as a ton of live and demo recordings, as well. Enjoy!