OFFICIAL: http://www.alphamulemusic.com/
BANDCAMP: https://alphamule.bandcamp.com/
Written
by William Elgin, posted by blog admin
With
its faded, Civil War style band photo on the cover of the album and its primary
members holding their musical weapons of choice (acoustic guitar and banjo,
respectively), it’s very apparent what you’re getting on Alpha Mule’s debut LP,
Peripheral Vision. With 15 tracks all told including the
record’s 5 bonus tunes, there’s a lot to explore on this lengthy, side-winding
release. Featuring a cast of supporting
players providing trumpet, harmonica, lap/pedal steel, drums, Hammond organ,
mellotron and both electric/upright bass provided by Calexico’s own Joey Burns;
Peripheral Vision has a ripe, rich
musical atmosphere that always throws some curveballs and wild pitches in the
direction of its audience.
High-octane
banjo and full-speed acoustics beam in “Corpus Christi” from the darker side of
bluegrass. There’s a smoky, dank
atmosphere to the slinky, shifty melodies and heartfelt vocal harmonies. Burns gifts the background with some deep,
swaggering upright bass while Connor Gallaher shades things in with steel
guitar ambience. One of the bonus tracks
is a duo version of this track and it’s interesting to compare this version
with the stripped down album closer version that features only Joe Forkan’s
acoustic guitars and vocals alongside Eric Stoner’s ornery banjo runs.
“On
the Moon” is a vintage country crooner that dials back the darkness and allows
a sundrenched acoustic guitar licks to lead the charge as Stoner duels the
vibrant guitar lines with some punchy banjo licks of his own. Even the vocals take cleaner, clearer turns
and approach some near “pop” melody even if the type of country that the boys
play is far and away from what’s considered “pop country” in 2018. Fen Ikner’s brush played snares and Joey’s
tightly threaded bass grooves craft an airtight jam shimmering with
anthem-ready melodies and a congruent instrumental vibe where the instruments
always complement each other; refusing to spiral off in flashy directions that
would take away from the songwriting as a whole. The title cut is dripping with heartbreaking
musical sadness in the fine tradition of Hank Williams Sr. as low hung bass
licks, hurdy gurdy acoustic guitar and a wayward banjo wander beneath Forkan’s
melodically aching lamentations on love.
Those Hawaiian sounding steel licks only add a deeper aural sadness to
the overall mixture of exotic instrumental layers.
Some
Elvis influence feels apparent on “Pavlov” where the duo kicks the tempos in
the pants and rough ride their way right into the heart of rockabilly country. Aggressive upright bass licks swagger their
way to the forefront as these low-end melodies duel at high noon with the six
shooter banjo patterns and heavy acoustical firepower. Even Joe’s voice adopts a huskier baritone
that will instantly remind fans of The King’s lauded work. “Mule in the Mine” is similarly uptempo with
its explosive guitar/banjo frenzy but the end result is more in tune with Bill
Monroe or some pioneering bluegrass than the Presley fury of the preceding
number.
Elsewhere,
“Step Outside” is another penultimate country tearjerker fashioned from
deliberate tempos and wailing steel guitars that wraparound the main
instruments tightly, “Music of our Hearts” incorporates Mexican-flavored horns
into a busy bluegrass jam, “Empire” feels like a more song-oriented take on
Ennio Morricone’s grand teachings, “Short Man’s Room” is a blue-eyed soul
classic and “Drift” is an echo-y, twanging drone that barely lasts a minute and
sets up the duo version of “Step Outside” perfectly.
All
in all Peripheral Vision is a varied
and challenging record with absolutely every corner of the classic country
gallery explored. From bluegrass to
“Tear in my Beer” heartbreakers, this is an absolute must have for fans of the
genre. Each and every composition could
be a single on this release and it’s one that fans of the style are going to
want to pick-up posthaste.
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