William Tyler
Modern Country
Merge
Jun 10, 2016 William Tyler
Though William Tyler’s fingerpicking has always suggested open vistas, ragged coasts, and endless plains, the streamlined Modern Country summons the undying hum and manmade ingenuity of freeways and canals. Relatively polished and succinct, the album finds Tyler trimming song lengths after having stepped into a professional studio with a backing band made up of vets Phil Cook, Glenn Kotche, and Darin Gray (of Hiss Golden Messenger, Wilco, and Tweedy, respectively).
To Tyler’s enormous credit, the shift on his fourth instrumental full-length plays like it was precipitated by genuine curiosity rather than compromise or concession. As always, he manages to engage in a rich dialogue with genre, individuality, and national identity without every uttering a word; this is not so much the doomsaying the album trailer hinted at as it is an exploration of how—if at all—an Americana guitarist fits into the contemporary sonic and social landscape.
Modern Country is also a tender, if idiosyncratic, celebration of the folk, country, and minimalist forms that inform Tyler’s work. The excellently titled “I’m Gonna Live for Ever (If It Kills Me)” showcases some of his most controlled, melodic playing, and the gorgeous “Sunken Garden” finds him at ease in the role of bandleader, allowing the exquisite warmth of organ washes and delicate piano to support his leads.
Orchestral inclinations that sometimes lurked beneath prior efforts are also brought into the open here, most notably on the multi-tiered “Gone Clear,” which includes a passage that has more in common with Steve Reich and Philip Glass than John Fahey or Leo Kottke.
The unruly splendor of the superlative Impossible Truth (still Tyler’s summit) is occasionally missed (“Albion Moonlight” might just be too well-mannered for its own good), but Modern Country is the guitarist at both his most giving and lucid. Consider closing number “The Great Unwind,” which begins as a showcase for an awesome electric tone before giving way to field recordings of birds, only to resolve itself as a downright hummable full-band ditty. Its rather representative of the album as a whole-an unexpected offering, to be sure, but one that holds up to active scrutiny while also still giving listeners enough space to dream their own dreams. (www.williamtyler.net)
Author rating: 7.5/10
Average reader rating: 8/10
Current Issue
Issue #72
Apr 19, 2024 Issue #72 - The ‘90s Issue with The Cardigans and Thurston Moore
Most Recent
- Under the Radar Announces The ’90s Issue with The Cardigans and Thurston Moore on the Covers (News) — The Cardigans, Thurston Moore, Sonic Youth, Garbage, The Cranberries, Pavement, Lisa Loeb, Supergrass, Spiritualized, Lush, Miki Berenyi, Miki Berenyi Trio, Emma Anderson, Hatchie, Ride, Slowdive, Velocity Girl, Penelope Spheeris, Terry Gilliam, Gus Van Sant, Ron Underwood, Kula Shaker, Salad, Foals, Semisonic, The Boo Radleys, Stereo MC’s, Pale Saints, Blonde Redhead, Sleater-Kinney, Cocteau Twins, Lucy Dacus, Alex Lahey, Horsegirl, Grandaddy, alt-J, Squid, The Natvral, Wolf Alice, Jess Williamson, Sunflower Bean, Orville Peck, Joel McHale
- 10 Best Songs of the Week: Fontaines D.C., Cassandra Jenkins, Loma, John Grant, and More (News) — Songs of the Week, Fontaines D.C., Cassandra Jenkins, Loma, John Grant, Good Looks, Hana Vu, Belle and Sebastian, Yannis & The Yaw, Strand of Oaks, Home Counties
- Fresh Shares New EP ‘Merch Girl’ (News) — Fresh
- Premiere: LOVECOLOR Shares New Video for “Crazy Love” (News) — LOVECOLOR
- Final Summer (Review) — Cloud Nothings
Comments
Submit your comment
There are no comments for this entry yet.