Single Review — The Dixie Chicks Return with a Bang with “Gaslighter”

It’s been 14 years since the Dixie Chicks have released their last album. Country music hasn’t been the same since, as you can’t deny their leaving/dismissal and absence in the genre had a lasting impact in many ways. Well after years of rumors, they make their return with a new album coming out on May 1 and they’ve just released the lead single from it, the album’s title track.

Now normally in this new era of Country Perspective I don’t discuss or review singles because there’s just so many and I’m an album listener, not a singles listener. But I have to make an exception and break my own rule because this song is just too damn good for me to not talk about and review. Right away this song blasts you with the type of harmonies I’ve been wanting to hear and shouting from the rooftops about for years in review. Acts today just don’t utilize harmonies enough, but this is what makes the Dixie Chicks so great. They utilize their strengths to the very best and their harmonies are very much a strength.

The story the song tells is of a man who was a grand puppet master, successfully manipulating and controlling a woman for what sounds like years before she woke up and is now calling him out on his bullshit, a gaslighter. Each member of the trio takes their turn on lead, each adding another layer and detail to the story that gives you an exact look into this toxic relationship and the freeing liberation being experienced by the woman who’s finally rid of him. The production is big and soaring, an instant foot-stomper with thumping drums and an infectious hook. Collaborator Jack Antonoff definitely added his influence, as he’s known for bringing a stunning level of polish and catchiness to the music he touches.

I was already excited to hear the new album from the Dixie Chicks, but this new single just takes it to an even higher level. And the early reception of the majority of listeners seems to indicate the same. The Dixie Chicks are back and this is great not just for country music, but all music.

Spinning All The Records — February 2020

Spinning All The Records is a brand new feature on Country Perspective that is a monthly overview of all the albums reviewed in the previous month on Country Perspective to give any readers, new and old, a quick look at what I covered and to catch anything you missed. In addition I take a look ahead at what I want to cover, upcoming album releases that catch my eye and a throwback album recommendation. So without further ado…

Looking back on February 2020, it was a surprisingly great month of high-quality releases. While the Tame Impala and John Moreland albums did not surprise me in the least with being great, the releases from Khruangbin & Leon Bridges, Tennis, and Denzel Curry & Kenny Beats really caught me off-guard with how great they were and proved themselves to be some of the best music you’ll hear in 2020. I did not expect to give this many high grades so soon and I mention this because something I didn’t like about myself in the past with this blog was so many 9s and 10s being given. But when I give them now I assure you that I put a lot more thought behind it. And I definitely welcome this influx of high grades, as the music is pretty damn good. If 2020 can continue to have months like this, we’re in for one hell of a year of music.

(Click on the album titles to read the full review)


Tenille Arts — Love, Heartbreak, Everything in Between

Love, Heartbreak, & Everything in Between is a good showing from Tenille Arts. The songwriting is really smart and shines at times and the production of Kline, Grand Vogelfanger and Adam Wheeler shows they know how to pull off a great pop country sound. A couple of unnecessary cuts, some average songwriting moments and a few small cases of getting carried away with the production bring this album down enough to prevent it from being a great album. But if you’re a fan of pop country I still recommend checking out Tenille Arts, as she shows a lot of promise and talent on Love, Heartbreak, & Everything in Between.

Pet Shop Boys — Hotspot

The highs the Pet Shop Boys deliver on Hotspot are really fun and are definitely memorable, while the lows are completely forgettable. It’s a bit of a roller coaster listen, but if you’re a fan of synth pop it’s worth listening to it a few times and picking out your favorite songs to go back to. But the album taken as a whole is just decent and leaves more consistency and cohesiveness to be desired.

Khruangbin & Leon Bridges — Texas Sun

Texas Sun is a truly brilliant little collection of music. As I said in the beginning, man I wish this was a full album instead of an EP. Khruangbin and Leon Bridges go together so well and come together to create a vibrant and colorful set of songs. It’s a true homage to the many sounds of Texas music that is fresh and invigorating. Do yourself a favor and listen to this exciting EP.

The Cadillac Three — COUNTRY FUZZ

Fun is a word I repeat over and over in this review. And it’s for good reason: that’s the ultimate appeal of The Cadillac Three and their album COUNTRY FUZZ. It’s entertaining country rock that aims to help you have a good time and forget your worries. The lyrics aren’t deep, and they aren’t meant to be; they’re meant to singalong with and have fun. So while this album may not be one for the record books or album of the year lists, it is an album that entertains and it’s exactly what you’re looking for when you just want to listen to something with loud guitars and big hooks.

Denzel Curry & Kenny Beats — UNLOCKED

Curry brings so much aggressive passion and rawness in his voice, along with his choice of diction in his delivery makes what would be an average banger into something that’s truly memorable. And this big reason is why UNLOCKED is the first great hip-hop album I’ve heard in 2020. While it doesn’t quite reach the heights of ZUU (an album I’m ashamed I omitted from my best of 2019 list), this is yet another high-quality project from Denzel Curry (and another great one from Kenny Beats too).

Tennis — Swimmer

With Swimmer, Tennis delivers an excellent album about love. It’s quickly became one of my favorite love albums. And this isn’t rash hyperbole on my end. I’m being serious when I say that this album truly delivers a heartfelt, genuine and truly touching take on true love. Love albums and love song are an absolute dime-a-dozen. They’re churned out every day. Most only focus on the surface level of love and the flip-side with heartbreak. What they don’t ever seem to focus on are the little things, the nitty gritty of relationships that aren’t easy to convey in an informative and interesting way. But that takes brilliant songwriting with equally high-quality production that aids it. Tennis delivers this.

Tame Impala — The Slow Rush

The Slow Rush is another great album from Tame Impala without a doubt. But it’s also hard not to see this album is a few missteps away from equaling the brilliance of Currents. It lacks focus in a few spots and there’s one song that just isn’t needed. But this is also a bit nitpicking admittedly. The production from Parker is once again deeply rich and textured, engulfing you with it’s fantastic details. And the songwriting mostly hits. So ultimately I can say this is one of the best albums you’ll hear in 2020.

John Moreland — LP5

LP5 is another fantastic album from John Moreland. He’s always been a great songwriter since his first album, but it’s the recognition to grow and experiment with his sound starting with his last album that’s taken him to a whole new level in my mind. Too many singer-songwriter artists think they have to stick to a stripped-down, folk-y sound for their lyrics to be taken seriously. At the same time, drum machines are dismissed as “not real instruments” used by pop stars. Well with LP5, Moreland proves both these claims to be moot.


Looking Ahead to March 2020…

As of this moment, there’s a few albums I’m heavily considering reviewing that were released in February. Those would be the new albums from Nathaniel Rateliff, The Steeldrivers and Hailey Whitters. As far as other releases I may have not covered, they simply didn’t catch my eye enough to review them or I feel I didn’t have enough thoughts for a review. But I most likely did listen to it (I listen to a lot more albums than I review), so feel free to hit me up in the comments and ask me about those, as I’m happy to answer with my thoughts on them. I want this monthly post to serve as not only a monthly review, but a place to cover anything “in the cracks” so to speak.

As far as upcoming new releases in March 2020, there’s definitely a few I want to highlight that catch my eye more than others. I’m curious to hear the new live album from Cream, Goodbye Tour – Live 1968, coming out on March 6. Usually I don’t like to review live albums, but I wanted to throw this out there for those into classic rock. Caitlyn Smith will be dropping her new album Supernova on March 13. I loved the previous album Starfire and this new one appears to be pushing the sonic envelope even more, so I’m excited about that one. The enigmatic Jay Electronica is rumored to be finally dropping a new album on March 18. We’ll see, as you can never be sure with him.

The Weeknd just recently announced a release date for his new album After Hours. So far I’ve enjoyed the singles I’ve heard from it and for the most part I liked the previous album Starboy, but I found that album to be a bit too long for my liking. I’m glad to see this one is four songs shorter. This will be dropping on March 20. Finally, Ingrid Andress will be releasing her debut album Lady Like on March 27. I find her voice and style of pop country to be promising. Her songwriting comes off as both catchy and sharp (the song “Both” in particular impresses me). So I’m curious to hear what she brings to the table with her album.


A Throwback Album I’ve Been Listening To That I Recommend

Travis Tritt’s Country Club

If you want some fun and “drive” in your country, Travis Tritt and this album in particular are a great place to start. It’s amazing to me how underrated Tritt is when looking back at 90s country, as he undoubtedly released some of the best. This album in particular showed you could make a stone-cold country album that still incorporates elements from other genres. Most importantly, Tritt just has the “it” voice for country music.

Album Review — John Moreland’s ‘LP5’

You would be hard-pressed to find many songwriters in music today better than John Moreland. His albums over the last decade contain some of the rawest and realest lyrics you’ll hear and his new album LP5 is no different. “Harder Dreams” opens the album, serving as a commentary on modern media, ads and the difficulty of realizing individuality in a world where everybody wants you to be something else. Right away you get to hear the new production approach Moreland and his producer Matt Pence take with this album, incorporating airy synths and drum machines. Just like Moreland’s last album Big Bad Luv, I love the different approach he takes with the production. And rest assured this isn’t the first time on this album I come away impressed by the instrumentation.

“A Thought is Just a Passing Train” has a catchy and bouncy feel thanks to some well-deployed drum loops throughout. The song though reflects on how dark thoughts can pass through your mind, but Moreland ultimately telling the listener to let their shame of this darkness go and to be easier on oneself. I enjoy the vocal effects used by Moreland too, as it gives the song a more ominous and serious tone. “East October” is another song focused on darkness, this time on what appears to be a fallout of a relationship and leaving the man questioning how he can continue on alone. Atmospheric guitars, drum loops and melodic pianos blend together to create a lush, sobering, mellow sound that set the perfect background to the lyrics.

“I’m Learning How to Tell Myself the Truth” is about a man recognizing the lies each person in the relationship is telling themselves. He then comes to the conclusion that he just wants to “move her” and seeing things more clearly than what he has been seeing. It’s a moving and honest song about…well honesty. But what makes this song so good is how Moreland’s lyrics dance around kind of vaguely throughout and at the end they all add up, leaving me as the listener with a sort of “a ha” moment of realizing what this song is all about. A lot of songwriters who use abstract lyrics fail to make them work because most listeners aren’t able to derive the message, but Moreland excellently deploys subtlety to tell this song’s story.

“Two Stars” is a peaceful and easy-feeling instrumental that shows another side to Moreland I’m happy to see. So many songwriters get hung up in the lyrics and don’t pay attention to the production, but Moreland is clearly not one of these songwriters. “Terrestrial” explores each sides of a relationship, the joyful beginnings and the sorrowful end. This might be my favorite on the album, as the lyrics are beautifully descriptive of each side of the relationship coin and the production is rich and textured. The mix of instrumentation in the bridge, largely driven by delicate plinking of the piano, gives me chills with it’s serene sound. My only complaint is I wish it was longer. Well done to Moreland and Pence.

Moreland once again does a great job of using abstract lyrics to tell a story on “In Times Between.” This one is about the crushing and lingering heartbreak after breaking up. The last lines in particular are so devastating, yet just drive the point of the song home so well: “But lately I’ve been feelin’ like I’ll never sleep again/I sit up in a satellite and watch the cold world spin/But damn it all to hell, but don’t it mean a thing?/The love we knew so well was barely hangin’ on a string.” After that dark note, Moreland lightens things up with “When My Fever Breaks.” It’s a heartwarming love song, a side I’m glad that Moreland opened up thanks to his newfound marriage on his last album Big Bad Luv. While it may not quite punch the gut likes his dark songs for many, I think he can write the love songs just as well too.

“I Always Let You Burn Me to the Ground” once again sees Moreland and Pence find a good balance of drum loops and synths to create an interesting and vibrant sound. It’s another love song that features solid songwriting, but doesn’t quite stick as well emotionally for me as “When My Fever Breaks.” Moreland delivers another enjoyable instrumental with “For Ichiro,” which I thought would be about the legendary outfielder. But Moreland said it was basically just a random shoutout. Damn. Still a funny little story behind the song though. The album closes with “Let Me Be Understood,” which features some well-placed, warm harmonica licks throughout. The song itself is about being accepted and understood for who you are, not who you once were. It’s a nice choice to end that album, as Moreland clearly seems to be drawing from his experiences of growth and change, reflecting on the man he once was and the man he is now.

LP5 is another fantastic album from John Moreland. He’s always been a great songwriter since his first album, but it’s the recognition to grow and experiment with his sound starting with his last album that’s taken him to a whole new level in my mind. Too many singer-songwriter artists think they have to stick to a stripped-down, folk-y sound for their lyrics to be taken seriously. At the same time, drum machines are dismissed as “not real instruments” used by pop stars. Well with LP5, Moreland proves both these claims to be moot.

Grade: 9/10

Album Review — Tame Impala’s ‘The Slow Rush’

When it comes to Tame Impala, there can be a split amongst it’s fans and it all centers around the last album Currents. And it’s understandable, as the sound of Tame Impala is decidedly different pre-Currents and post-Currents. Personally, I prefer post-Currents, as I find the production to be the big reason I prefer this era of Tame Impala. Currents is in fact one of my favorite albums of the 2010s and I’ll most certainly be talking about it more when I conduct my best albums of the 2010s list. Tame Impala’s new album The Slow Rush picks up right where it left off.

Now one thing to know right up front about Tame Impala if you’re not familiar with the act is it’s only one man who’s writing, producing and making the music on the albums: multi-instrumentalist Kevin Parker. And it’s easy to see he’s a perfectionist when it comes to his production, hence why it’s been five years since Currents. So when it comes to listening to Tame Impala, it’s immediately the first thing you notice and therefore must be the first thing that has to be discussed. It absolutely dominates and smothers every other aspect of Tame Impala’s music. It’s both good and bad. It’s good in the sense because there’s just so much attention to detail and it’s so grandiose and over-the-top that it overwhelms your senses in a good way. It’s bad in a way though too because it’s so hard to focus on everything else, most notably the lyrics. So one big recommendation I would make when listening to Tame Impala and this album is to wear headphones.

The ethereal and echoing “One More Year” opens the album and the song (and the whole album) explores a relationship one year into it. It reflects on how the relationship came to be, the joy of being in it still the same, but also the doubt and fear of the commitment aspect creeps in too. This seems to be fully fleshed out throughout the album. But I have to point out these particular lyrics towards the latter half of the song come off as lazy: “We got a whole year (One more year)/Fifty-two weeks/Seven days each/(One more year) Four seasons/one reason/one way.” It feels like filler. And as I said above the production drowns out the lyrics so that for many listeners that this just glazes over, but once you start closely examining the lyrics you see there are a few moments on this album where the lyrics feel phoned in.

“Instant Destiny” is an instantly catchy song with one of the stronger hooks on the album. This song is about letting the love in a relationship dominate your emotions and essentially letting all the problems come off as trivial (such as traffic). It’s a fun and groovy love song. “Borderline” is a great modern take on disco that avoids the cheese of the genre and focuses more on a funky bass-line that draws you right in. This honestly feels more like a song from The Weeknd with it’s club feeling and Parker’s voice delivery, which isn’t a bad thing. It’s a great song, but I would remiss if I didn’t point out the canniness.

“Posthumous Forgiveness” is a perfect example when Parker puts an equally great amount of effort into both the lyrics and production, as he explores the complicated feelings he has towards his now deceased-father. He’s angry at the lies his father told him and how feels betrayed by them, watching his father go to the grave without it ever being addressed. But at the same time he forgives him and wishes he was still alive to share all of the things happening in his life now. It’s a beautifully tragic look into a complicated relationship and shows how fantastic of a songwriter Parker can be. I also love how the beat changes from dreary and dark when Parker is expressing anger, but then shifts to a more shining and upbeat sound when he pleads that he wishes his father was still alive.

The tropical funk of “Breathe Deeper” is instantly infectious and I love the shimmering effect the keys give the song as they interlude throughout. It comes off a prove it song to me, as Parker professes to his love that he can handle the relationship. The infectious groove with the commanding lyrics make for a great song, except it feels so unnecessary for it to be six minutes long. It becomes meandering by the end, as this song could have easily just been four minutes and gotten across the message. The beat change at the end feels like overkill too, showing the cons of taking a perfectionist attitude with production.

“Tomorrow’s Dust” should have been left on the cutting room floor, as it has both the least memorable beats and lyrics. The song is about finding it wrong to connect with an old soul and seeing wrongness in others and quite frankly it’s all an unfocused mess. There’s just no direction or purpose in this song, as it ultimately says nothing to me. It’s too abstract in it’s approach, not to mention the song feels longer as a result. Thankfully the album gets back on track with “On Track.” It’s an upbeat and optimistic song about reassuring one’s self that you’re on the right path and overcoming the mistakes of the past while acknowledging there will still be more mistakes and failures to come. It’s staying focused and not letting the past nor future bring you down. The drums and the airy synths give the song an appropriately reflecting yet hopeful feeling.

The bounciness of “Lost in Yesterday” makes it one of the funnest moments on the album. The song is about facing the memories and demons of the past, facing fears and shedding the things that feel like that hold you back. Once again Parker shares a genuinely heartfelt and healthy message of building off mistakes and making yourself into a better, happier person. It’s also yet another example of Tame Impala at it’s best because the songwriting feels like it’s given the same amount of attention as the production. “Is It True” brings more funky and groovy goodness on an album already full of it. Once again the bass liner is killer from Parker. The lyrics are strong here too, as Parker’s love questions if it’s true when he says he loves her. I thoroughly enjoy and am amazed at how Parker captures in the lyrics the simultaneously contradicting feelings of being head over heels with someone while also being absolutely terrified of expressing it (along with the doubt of both with Parker saying he loves her).

“It Might Be Time” is about grappling with that doubt from both internally and externally, looking for all the excuses of why the relationship can’t work. At the same time it’s acknowledging the change happening around you and in your own relationship, causing more fear and doubt. Ultimately Parker realizes he has to embrace it all and not run from it. I love the frenetic nature of the drums and guitars, lending well to the nature and theme of the song. “Glimmer” sounds like it’s song title, a glimmer of hope and resolve in the face of this fear and doubt. The short song (well more of an interlude) consists of Parker repeating over and over “I just wanna let it all go,” referring to the doubt.

This gives way to the final track “One More Hour,” where Parker finally sheds all the past doubts and demons. He fully embraces the changing dynamics of his life and the love he has, using it to center him as he faces the future head on. The concluding absolute resolve and growth that is demonstrated in this song (and whole album) is fantastic. The production is also once again amazing with the soaring and space-y sounds of the synths, guitar and drums crashing together.

The Slow Rush is another great album from Tame Impala without a doubt. But it’s also hard not to see this album is a few missteps away from equaling the brilliance of Currents. It lacks focus in a few spots and there’s one song that just isn’t needed. But this is also a bit nitpicking admittedly. The production from Parker is once again deeply rich and textured, engulfing you with it’s fantastic details. And the songwriting mostly hits. So ultimately I can say this is one of the best albums you’ll hear in 2020.

Grade: 9/10

Album Review — Tennis’ ‘Swimmer’

I have to admit I wasn’t that familiar with the husband-wife duo of Tennis before hearing their new album Swimmer. I had heard of Tennis in passing and a few songs here and there. And man I wish I had listened to the music of Alaina Moore and Patrick Riley sooner. But I picked a great album to start with, as Swimmer is one of the most beautiful albums I’ve heard on love in the modern era. I like to think of this album as a more grown-up version of Country Perspective’s top album of 2020, Carly Rae Jepsen’s Dedicated. Swimmer though is very much in the dream pop lane, taking influences from twee pop, soft rock and yacht rock too.

Soft and rolling piano plays in opener “I’ll Haunt You.” It’s a song about confessional, professing love. The instrumentation gives it an appropriately hypnotic feel and is a good introduction of what you can expect through this album. I really enjoy the bouncy snare drum that interplays throughout “Need Your Love.” Tennis makes an excellent choice in speeding up the pace when Moore is protesting her lover, yet the melody immediately slows down once she admits she needs his love. This really gives a good sense into the divided mindset of someone who loves someone but is also living in doubt with them at the same time, as both the words and sounds play perfectly off each other.

“How to Forgive” is about disguising how you feel around the person you love and being consumed by the questions in your head about the relationship. “How could I disguise the way that I’m feeling?/I’ve got my reasons, I could give you a million/I’d move on if I could only remember/All that it takes is just an act of surrender” are the money lines that really drive home the mood of this song. That very last line in particular gives such an insightful glimpse into the fear of giving one’s self up to another in a relationship and letting go of that control. Moore’s delivery of these lines really drives the emotion of them across.

“Runner” focuses on the raw passion of the relationship, going down to the beads of sweat that are running down their necks. Once again I have to praise how the production shifts so appropriately with the changing moods within the song, going more methodical and relaxing when Moore is reflecting on the passion, and then the pace shifts to a more frenetic, escalating excitement when she starts to exclaim over the sweat that pours out of her. With this kind of synchronization between the words and production of the song, it makes it instantly connectable with such a vivid picture being painted in my head.

“Echoes” and “Swimmer” are two songs that need to be discussed together for two reasons. For one I couldn’t really discern what exactly they were about, but I’m glad it forced me to actually read what Moore said about writing these songs because the inspiration behind them are the kind of stories I like to hear about from songwriters. That leads me to the second point of why these two songs should be discussed together and that’s because they each center around death.

“Echoes” is about Moore suffering a seizure in a grocery store, leading her husband Riley to believe she was dead at first. Moore also described the ordeal as an out of body experience and how after she came to later that it strengthened their bond even more. “Swimmer” is about the couple spreading the ashes of Riley’s father in the ocean and Moore observing the dichotomy of the sadness of them spreading his ashes versus looking back at the shore and seeing people laughing and having a good time. The message ultimately both songs convey is how reflecting on mortality can cause one to have greater appreciation for your loved ones; out of sadness can come happiness, strength and a greater awareness. It is death that gives life such meaning and therefore love too. You can’t get any stronger songwriting than this.

“Tender as a Tomb” immediately invites you in with it’s warm and tropical sound. It’s a song that gets lost in the overwhelming joy one can experience when in love, engulfing themselves in the emotion, casting away all reason and doubt in the process. “Late Night” features some really clever songwriting around a biblical reference: “Like Mary Magdalene, I’m on my knees again/But if you see me as a saint/You’d be mistaken/Late night turning into morning blue/It took such a long time to make up my own mind about you.” It not only describes her surrendering herself to the sexual pleasure of this relationship, but the emotional aspect too. She’s both literally and figuratively giving herself up to her love. It’s gripping and fantastic songwriting by Moore and Riley.

The album closes with “Matrimony II,” an excellent choice to end with, as it kind of reflects on everything that this album covers, leading to the ultimate act of love: marriage. It goes over the vows and how she changed her name for him, how all these little acts and feelings slowly built up to this moment of true love. What impresses me how well this is expressed in the lyrics without “going Hallmark” or overly cliché. Matched with an equally happy sounding melody, this song makes you leave the album with a smile. I know I did.

With Swimmer, Tennis delivers an excellent album about love. It’s quickly became one of my favorite love albums. And this isn’t rash hyperbole on my end. I’m being serious when I say that this album truly delivers a heartfelt, genuine and truly touching take on true love. Love albums and love song are an absolute dime-a-dozen. They’re churned out every day. Most only focus on the surface level of love and the flip-side with heartbreak. What they don’t ever seem to focus on are the little things, the nitty gritty of relationships that aren’t easy to convey in an informative and interesting way. But that takes brilliant songwriting with equally high-quality production that aids it. Tennis delivers this.

Grade: 10/10