Love Rides A Dark Horse
Um seine neuen Songs zu schreiben zog sich Landry im Dezember vergangenen Jahres für zwei Wochen in den regnerischen Winter der Washington Coast zurück und vollendete sein Album dann letzendlich in seiner Heimat Nashville. Unter der Mitwirkung von u. a. Ross Holmes (Mumford & Sons, Bruce Hornsby), Skylar Wilson (Andrew Combs, Rayland Baxter) und Logan Matheny (Roman Candle, Rosebuds) entstand so ein Album, das auf das Nötigste reduziert einen Sound von Intimität aufbaut, der an Leonard Cohen und Tom Waits erinnert.
Landry sagt selbst zum Schaffensprozess: "In writing this album, I wanted to paint a vision of the prison of expectations that eat loving relationships at their core and can turn them into a mechanical farce. (...) The songs reveal characters trapped in scenes they didn’t create as much as rehearsed. (...) They find themselves disappointed with the reality of relationships due to their false idealizations. Love becomes a possession rather than a presence. This isn’t to say I don’t think that there aren’t millions of people living in harmonious, real, and loving relationships. I don’t happen to know an overwhelming amount of them, but I know they exist."
Gill Landry überzeugt mit starken Folksongs, Dylan-inspiriertem Folkrock & atmosphärischem Americana! Mit seiner Band Old Crow Medicine Show und dem Album "Remedy" erhielt er 2015 bereits einen Grammy für das beste Folk-Album!
‘Love Rides A Dark Horse’ breaks new ground for Landry with contributions from fiddler Ross Holmes (Mumford & Sons, Bruce Hornsby), keyboard player Skylar Wilson (Andrew Combs, Rayland Baxter), and drummer Logan Matheny (Roman Candle, Rosebuds), the songs explore a more seductive, stripped-down sound built upon a hushed sense of intimacy that calls to mind Leonard Cohen and Tom Waits. The album’s tattered narratives cast aside romanticism in favor of reality.
Landry sets the tone from the outset with the alternately joyous and ominous album opener “Denver Girls,” singing, “If it’s not paradise now / Tell me what you’re waiting for / Don’t you know there is no evermore?” The song features haunting background vocals from First Aid Kit’s Klara Soderberg, who joins Landry again later for a proper duet on the driving “Berlin.” Additional female vocals appear throughout the album, some from Karen Elson and others from Odessa, their presence a gentle reminder that, as Landry puts it, “it takes two to disagree.”
On the spare “Bird In A Cage,” Landry searches for escape from the prisons we build inside our own minds, while the classic country of “The Only Game In Town” offers up biting wit in its take-down of love for love’s sake. It’s a sentiment he explores from a number of angles, perhaps most poetically on “Scripted Love,” which looks at the ways we set ourselves up for failure by aspiring to unrealistic standards.
The scope of Landry’s songwriting extends beyond just romance, though. On “The Real Deal Died,” he laments the performance nature of style-over-substance art, while “The Woman You Are” finds solace in the company of a partner equally alienated by gentrification and sanitization of contemporary culture.