After aphids devastated Mallorca’s wine crop, the populace turned their talents to leather shoemaking. At its peak, the area was home to over a hundred shoe factories; a few still survive and thrive, the rest either deserted or converted. When Oliver Patrice Weder moved to one of these former shoe factories, he became fascinated by their history. He toured his new area, microphone in hand, interviewing people along the way. The sounds of the factories, coupled with Weder’s piano and electronics and enhanced by saxophone and brass trio, becomes a lovely tribute to the legacy of Mallorca. We might add that there’s no better way to become acclimated to a new area, and if the artist distributes copies to the local workers, he’s likely to be rewarded with more than a few drinks, jumping the normal newcomer queue.
An electronic pulse opens the album, redolent of factory repetitions. When sax and brass join the fray, they represent the personal touch, the handcrafted contributions of those who have worked at the same tables for decades. The piano notes arrive last, offering an appreciation for the craft, the artist translating what he witnesses to nobility and grace. In “Home at Last,” the piano takes center stage, the title implying that Weder’s new factory home is the place he has been seeking for years. Soft, slow and serene, the piece wraps the listener in the rhythms of the village.
Early single “I’d Like the Birds to Teach Me How to Fly” is relaxed and ebullient, suggesting that in Mallorca, the shoemaking industry is constructed of more pride than resentment, the typical view of factory work reversed. This is the sound of people who dream, and who have a real possibility of seeing their dreams fulfilled. While the Balearic tourist destination yields the expected change of seasonal energies, the year-round residents remain the heart of the community. “The Factory Song,” filled with rhythmic thumping, is Weder’s take on “Whistle While You Work,” and bursts with the satisfaction of a full day’s labor. In contrast, “Modern Times” references the Charlie Chaplin classic and serves as a reminder that repetitive work can be taxing; once again, the electronics surge to the fore, hammering the point home.
In the end, The Shoe Factory becomes a form of travel writing, concentrating less on location than on people. “Breathe In” is mirrored by “Breathe Out,” which contributes a sense of calm. Weder’s tribute culminates in “True Heroes,” patient and patriotic, the brass band suggesting a parade, the percussion a march. The artist has earned his place in the community, becoming part of local lore. (Richard Allen)
a closer listen 