Essential Review – Tyminski’s ‘Southern Gothic’

Sometimes it can take years for people to recognize an impactful piece of music. This can happen because the music is by an artist that isn’t well-known or the music is so different that it takes the genre and audience years to catch up. I fully believe this when it comes to Tyminski’s Southern Gothic album he released last year. When it becomes more common place for electronic elements and country to be fused together, people will look back and point to this album as a pioneering effort in electronic country. Dan Tyminski was the perfect artist for an album like this one with his extensive bluegrass experience and being the voice behind the hit “Hey Brother.” Southern Gothic may not be a perfect album, but it shows us just how excellent electronic country can sound.

The album’s title track opens and right away Tyminski delivers one of the best tracks on the album. It’s a scathing, cynical and dark look at the average small town in America. What were once regarded as little Mayberry-like towns with hard-working people is now full of sin and hypocrites. I particularly enjoy how the song shows the dissonance of how the town full of God-fearing people and churches on every corner demonstrate themselves to be anything but Christian-like. The production on this song is so spot on, perfectly creating the haunting, creepy vibe that lulls over the town being described in the song (credit to producer Jesse Frasure). This song is such a refreshingly real look at really the state of small town America right now, exposing the flaws and problems that plague modern society that many seemingly don’t want to acknowledge.

“Breathing Fire” is your “I don’t give a shit anymore” anthem. It’s about being fed up of turning the other cheek and just raising hell instead. It’s fun and catchy, making it impossible to not bob your head along with the beat. The next song “Gone” is about the loss of small town love. While love leaves the small town, the man is left to be haunted by her memories and wondering what if. I enjoy the urgency Tyminski shows in his voice throughout, showing the passion and heartbreak of a broken man well. The bouncy and infectious “Temporary Love” just grabs ahold of you and doesn’t let go. It’s one of the catchiest songs I’ve heard in recent memory in country music. Throughout the song the man decries one-night stands and his short-lived relationships, blaming both himself and the intoxication of quick sex. He’s ready for something more permanent and meaningful, but can’t pull himself away to find it. The rhythmic clapping with the interludes of drum machines makes this song so damn danceable, an element that gets under-looked in the genre.

Tyminski follows this with another catchy song in “Perfect Poison.” It could easily serve as the song about the short-term and hook-up relationships mentioned in “Temporary Love.” The opening of the chorus, “You’re no good for me/Like a methamphetamine”, is delivered perfectly by Tyminski and the song just sounds like the chaos of the relationship. “Devil is Downtown” deals with the access of opioids in small town America. It goes into detail of how easy it can be to get a quick hit from the drug dealer downtown and how easy it is to fall into the trap of drugs. It’s a dark, but necessary glimpse into something that is a real problem.

“Hollow Hallelujah” is one of the more underrated moments on the album. I interpret the song to be about being afraid to get help and look for answers, instead just crawling on your own and wandering in your own darkness. The song’s ultimate message is it’s okay to ask for that help and that God and friends are there to help you through. This song demonstrates the importance of showing the light in a dark song, as it provides the contrast necessary to drive home the message. The Celctic-folk influenced “Good For Your Soul” gets back to the fun side of the album. It’s an enjoyable ditty about a man pleading he’s good for his woman and desiring to remain with her wherever she goes. “Wailing Wall” follows a similar line. The heavy bass of the drums gives the song a swaggering, pounding tone that sticks with you.

“Haunted Heart” puts me in the mind of one of my favorite books, The Heart of Darkness by Joseph Conrad. It reminds me of the part of the story where it reaches the sweaty and dark jungle. It conveys a sense of urgency, fear and loneliness, just like the heartbroken man described in this song. Tyminski reflects upon his love of music being handed down to him by his family on “Bloodline.” It’s a nice homage to where and who he’s come from, showing how it went from a hobby to a passion for him. For those who dismiss this album for its sound, they miss out on the many meaningful songs like this one.

Tyminski addresses the end of a relationship on “Wanted.” He’s ready to walk out the door and be gone for good, knowing both him and his woman got what they wanted in the relationship. She got his love for a while and he leaves, as he knew what the relationship was destined for from the beginning. It’s a solid track, albeit maybe unnecessary with the album run time going a bit too long for my liking. The album closes out with the ominous sounding “Numb.” It’s one of the rawest moments on the album, as a man realizes he can’t recapture the old feelings of a past love. He feels nothing about her, as the pain of the fallout has made him empty inside from his inability to let it go. In an album full of dark moments, this is perhaps the darkest as it shows a window to the inside of the loneliest type of heartbreak imaginable.

Tyminski’s creativity and innovation is on full display on Southern Gothic. As I said this isn’t a perfect album, but its brilliant moments outshine the few flaws. A big credit should be given to Jesse Frasure, who produced the album and helped write many of the songs. He’s helped introduce many new wrinkles in fusion country and this is perhaps his best work so far, capturing the dark and chaotic nature of the songs throughout this album. I hope this pairing will continue to work together and create more projects in the future. Tyminski is the one who should lead this electronic country sound and demonstrate its potential to the rest of the genre. But regardless of future plans, Tyminski’s Southern Gothic is without a doubt an essential album in the realm of fusion country.

Album’s Top Highlights: Southern Gothic, Temporary Love, Hollow Hallelujah, Bloodline, Breathing Fire, Perfect Poison, Numb, Devil is Downtown


Producer: Jesse Frasure

Songwriters: Dan Tyminski, Jesse Frasure, Josh Kear, Will Weatherly, Cary Barlowe, Nick Bailey, Kyle Fishman, Paul Moak, Ashley Monroe, Amy Wadge, Sarah Buxton, Tofer Brown, Andrew Dorff, Ryan Ogren

 

Review – Lauren Alaina’s “Ladies In The ’90s”

Lauren Alaina has shown she can be one of the best in modern country at blending together country and pop. On her last album Road Less Traveled there were multiple moments where she demonstrated this (“Crashing The Boys Club” and “Queen of Hearts” immediately come to mind) and I was hoping she would build on these type of songs more in her future discography. Well on her new single “Ladies In The ’90s” she does just that. It’s a bouncy, colorful song that fondly looks back on the days of ’90s radio. It doesn’t just refer to the plentiful amount of women who got airplay on country radio, but pop radio too. Alaina reflects on her days of singing along to Deanna Carter’s “Strawberry Wine,” Britney Spears’ “Hit Me Baby One More Time” and more. As a fellow ’90s kid, I immediately got all of the references and remember each song mentioned. It’s kind of cool, but at the same I feel a bit old too.

Normally I don’t enjoy these nostalgia heavy songs with multiple references to past songs. It’s just lazy songwriting. However, I find myself enjoying this song because of its emphasis on Alaina’s joy of being able to previously turn on the radio to hear and connect with women artists and how it shaped her life. Instead of focusing on the nostalgia and name-dropping, it focuses on how the music made her feel. It makes for a much more genuine and real connection. Plus, the song is damn catchy with the well-crafted hooks and the great blend of drums, keyboards and electric guitar. “Ladies In The ’90s” is another good offering of country pop from Lauren Alaina.

Grade: 7/10


Songwriters: Lauren Alaina, Jesse Frasure, Amy Wadge

Album Review – Kacey Musgraves’ ‘Golden Hour’

The trajectory and journey of the career of Kacey Musgraves has been an interesting one. Her major label debut album Same Trailer, Different Park captured heaps of critical acclaim and attention, most notably for her open-minded anthem “Follow Your Arrow.” She then followed it up with Pageant Material, which I found to be a great album that was seemingly ignored by many in the music industry. It was disappointing, but predictable considering it didn’t have any “eye-catching headline” songs and the majority of the music journalism industry only care about their hits and not the music. So before many people who ignored Musgraves since Trailer got on her bandwagon recently, I was already highly anticipating her newest album Golden Hour. Musgraves has consistently improved as a songwriter throughout her career and I felt this could be a moment for her to really step up into the spotlight if she hit a home run. After thorough listens to Golden Hour, this album impressed me from start to finish with its bold risk taking and its deep dive into various emotions.

The album begins with the autobiographical “Slow Burn.” It appropriately has a dreamy, hazy feel as Musgraves croons about taking your time and doing it your own way. The song serves a signal for the rest of the album, which goes places many don’t dare to go in country music. “Lonely Weekend” is an anthem that assures you it’s okay to be alone at times in life. The song has a bubbly tropical feel despite the song tapping into the dark fears of missing out and social pressure. It’s the perfect song for the social media generation, describing the loneliness felt by many despite being more “connected” with each other than ever before in history. “Butterflies” goes against the sarcastic, sly personality Musgraves has largely personified in her songs up to this point. It’s cute, vulnerable and the production of the song even has the feel of butterflies fluttering through a bright blue sky. It also serves as a metaphor of how Musgraves’ outlook on love has went from the unloved caterpillar to blossoming into the pretty and appreciated butterfly.

The spacey sounds of a vocoder greet you on “Oh, What a World.” I absolutely love the utilization of the vocoder throughout this song because it helps sonically frame the lyrics. As the listener it makes you feel like you’re floating in space looking down upon the planet and admiring the mystery and vastness of it all. Then there’s the world of love between a couple, which feels just as deep and magical. This is a song where everything clicks perfectly together to create something beautiful and memorable that will stick with you. “Mother” is a more of an interlude than a song, as Musgraves soberly reflects upon the relationship with her mother after an acid trip. It’s a short and tasteful piano ballad. Musgraves expounds more upon her excitement of falling in love on “Love Is a Wild Thing.” She likens it to an exploration in the wilderness and stumbling upon it, rather than finding it. The instrumentation stays close enough to traditional, until the bridge where there’s a slick beat change that really adds a great spark to the song (credit to the producers Ian Fitchuk and Daniel Tashian).

There are several standout moments throughout this album and one of them without a doubt is “Space Cowboy.” With a title like this you expect something much different from what it is: your classic break-up country ballad. Except it’s set in modern-day, where the cowboy rides off in his Silverado instead of his horse. Then we get to the bridge of the song, which goes into a trippy, steel guitar-laced instrumental that adds more gravitas to the setting of the song (another smart production choice). It’s such a refreshing take all-around in the one of the most oft-treaded spaces in the genre. Heavy drum loops introduce “Happy & Sad,” which might be one of Kacey’s best written songs ever. The song expertly explores the complicated feelings of being happy and sad at the same time, in other words anxiety. It’s the anxiety of losing your happiness and everything crashing down when it’s all going great. I don’t think my words can properly describe how well the lyrics get to the root of this emotion and something you have to feel yourself.

“Velvet Elvis” is a fun and funky jam that will probably make a lot of summer playlists. It’s the kind of the song you want to blare loudly as you drive down the highway with the windows down. I got a strong classic country feel from the very first listen of “Wonder Woman.” It feels like something Dolly Parton would record. As Musgraves sings, she freely admits she isn’t always strong, reliable and is only a human who makes mistakes. It’s starkly honest, showing strength through an expression of fear. I previously did a whole other post dedicated to “High Horse,” a fantastic disco country jam. I will add that it’s ironic country radio casted aside Kacey and then she delivered a song that screams hit.

The album’s title track is probably the most underrated on the whole album. It’s not as flashy, catchy or fun as a lot of the other tracks. But it’s one of those songs that’s instantly comforting, like a ray of sunshine. It’s a new song, but it feels like an old favorite. The album finishes with a fantastic closer in “Rainbow.” The song captures that moment when the storm has finally passed and the light casts upon you again. It’s liberation from anguish and an embrace of capturing a sense of happiness that’s felt elusive for so long.

Golden Hour is an excellent journey through the ups and downs of the spectrum of human emotions. Happiness, sadness, love, confusion, fun, loneliness, togetherness, cockiness, hope and more are all on display. To be human is to feel and this album makes you feel so many things. This a defining moment for Kacey Musgraves, as a songwriter and an artist. Not only showcasing her top-level songwriting, but fearlessly taking the kind of risks that so many artists are outright scared or incapable of taking with their music. Most music released today sounds timid and lacks creativity. This album is full of confidence and charges ahead without letting the unwritten rules of music hold it back. When you cast away life’s preconceptions, you’re truly free as Kacey Musgraves demonstrates with Golden Hour.

Grade: 10/10

Album’s Top Highlights: Happy & Sad, Space Cowboy, High Horse, Oh What a World, Wonder Woman, Golden Hour


Producers: Daniel Tashian, Ian Fitchuk, Kacey Musgraves

Songwriters: Musgraves, Fitchuk, Tashian, Natalie Hemby, Luke Laird, Shane McAnally, Luke Dick, Jesse Frasure, Hillary Lindsey, Amy Wadge, Trent Dabbs, Tommy English