2023-07-26 14:01:02
Contrary to many of his country colleagues, Colter Wall does not lean out of the window, but turns around in proper style in front of his own front door: the grower offers without surprises Little Songs typically value-conservative, timelessly down-to-earth western class.
In fact, with these ten new songs, which at least in his generation can hardly be surpassed in terms of authenticity, the Canadian takes a step back, even laconically, reflects on his home with the tour discontinuity that has always ambivalently burdened him, and analyzes on an even more personal level level than before, the accompanying loneliness: “These songs were written over the last three years. I penned most of them from home and I think the songs reflect that.Home, for Wall, is still Battle Creek, Saskatchewan, regarding which heto mandolins and electrical amplification in the exceptionally rocky band sound of the title track: “You might not see a soul for days on them high and lonesome plains. You got to fill the big empty with little songs.”
Appropriately, the 28-year-old is not going on tour for the time being – although he has currently achieved a status that would ensure sold-out arenas in the USA.
As was the case for Western Swing & Waltzes Wall (vocals, acoustic guitar) went to Yellow Dog Studios on the border of Wimberly, Texas to record the material with Patrick Lyons as producer (audible on: pedal steel, mandolin, electric bass, archtop guitar, Dobro, flatpick acoustic guitar, fretted Dobro, baritone guitar, electric guitar, electric mandolin, classical guitar, tic tac bass) as well as Jason Simpson (bass), Jake Groves (harmonica), Russell Patterson (drums) and Doug Moreland (fiddle). .
The result is 33 minutes, which at first glance appear inconspicuous and even unspectacular without individual songs that stand out from the overall structure, so pleasant to listen to in a beautifully sequenced, because entertaining and variable flow over a downright traditional, unmodern timelessness unfold their depth effect – and in addition explores the basic theme of the album once more and once more in a fatalistic-prosaic way via some of Colter’s best lyrics.
In Prairie Evening/Sagebrush Waltz Relaxed guitars lean on a minimalist drumming, Wall tells a story in deep baritone singsong in the footsteps of Johnny Cash, before the opener then fiddles the romantic shimmering twist to the middle of a slowly swinging waltz, where the beguiling For a Long While can count on so much gentle and careful play. The Hoyt Axton piece evangeline has a disarming swing as one of two cover songs on the record, meanwhile The Last Loving Words offers the self-contained appendix as a peaceful little dance around the campfire.
Elsewhere, the impulses are set more demonstratively. Standing Here acts fast and lively, the Ian Tyson adaptation The Coyote & the Cowboy sways in good humored nonchalance and almost humorously flippant paint, while Cow/Calf Blue Yodel casually swaying yodels. Honky Tonk Nighthawk has distilled an Americana bar feel and attitude from Wall: “I don’t care what’s cool or where it’s at/I’m congregating at the places/Where the folks dress in boots and hats.“
The most essential for the nature of (which is rounded up at this point with fan glasses between the points) Little Songs but possibly the grandiose Corralling the Blues, sailing through a universal nostalgia with harmonica and dobro, smiling a little sagely in the intimacy of solitude: “I might get to thinking/That I might might quit drinking/ But then what else is there to do/ But when the day’s at a close/ And I’m all alone/ You can guess where my mind wanders to.“
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