A Varied and Intriguing Set of Soundscapes from Canadian Musical Polymath
The second in a trilogy of releases this year from musical polymath Steve Dawson; is this instrumental release, recorded at the Sam Phillips recording studio in Memphis with Jeremy Holmes (bass), Chris Gestrin (keyboards), and Jay Bellerose (drums/percussion).
The album notes suggest that this is best listened to as one whole, but it’s divided into tracks, so here goes…”Cozy Corner” which opens is reminiscent in feel of the recent Dean Owens/Calexico collaboration with it’s Spaghetti-Western-ish soundscape, albeit somewhat jazzier.
The short (one and a half minutes) “Burnt Edge” which follows, is a pedal steel work-out/wig-out, before the return of the Mexican flavoured and bizarrely named “Twig Bucket” the second-longest track on the album, it’s a guitar showcase.
“Ol Brushy” moves into somewhat funkier territory, with phased and wah guitar accompanied by underscored keys before the title tack “Phantom Threshold” introduces some plaintive violin to the Mexicali mix amongst the shifting rhythms and dynamics.
The Waters Rise” a Fats Kaplin co-write, brings in a musette style accordion over pedal steel and guitar and would make an ideal soundtrack to a noir western.
There’s a strange sideways shift with the album’s only cover – the Beach Boys’ “You Still Believe In Me” – but not as you know it, Jim…around the core melody, played on pedal steel, there are discordant keyboard stabs and musical nods to Brian Wilson’s arrangement – but thrown out of step – it’s a good signpost to the rest of the album, in the mix of melody and discord sitting side by side.
“Tripledream” is based around a core of slide guitar and pedal steel and toddles along nicely before slipping into a gentle “waiting for a thunderstorm” to approach middle and a jazzy funerial ending – I’m guessing the three moods in the song gave it its title.
“Lily’s Resistor” moves back to twangier territory and is similar in feel to the opener.
Penultimate track “That’s How it Goes in the Relax Lounge” is less relaxed than its title suggests, although the use of vibes on the track give it shades of an angsty 60s movie.
“Whirlwind” which concludes is a strummed/picked solo guitar workout – imagine the ghost of Robert Johnson pitched up in a modern studio and decided to show off all his licks and you’d get somewhere close.
Back to the comment about this being an album best listened to in one go – well, yes, I’d tend to agree. It’s good accompaniment music – whether that something is something mundane, or something more refined, “Phantom Threshold” offers a varied and intriguing set of soundscapes.