William Tyler
Modern Country (Merge)
A tough one. As a member of Lambchop, guitarist William Tyler helped craft one of the more interesting sounds in alt-rock, a lush mélange replete with strings yet maintaining a welcome twang. The last element was Tyler’s contribution, his abundant gifts becoming more obvious on his own albums, filled with sparkling instrumentals.
On Modern Country, Wilco drummer Glenn Kotche and Megafaun’s Phil and Brad Cook come along for the ride, and it’s a pleasant enough ride. Tyler’s skills remain evident, but there’s a dispiriting complacency to the songs, starting with leadoff track “Highway Anxiety,” an ironic title for a genial melodic theme that spins in place for nine minutes. There are high points—notably the acoustic, concise-but-lively “Kingdom of Jones,” which finds Tyler channeling Glenn Jones (who was reviewed earlier this year)—and low points, such as a Philip-Glass-at-the-homestead passage on “Gone Clear,” which throbs and builds ponderously before petering out. Overall, Modern Country sounds like cozy, closing-credit music for a PBS documentary on woodworking, the songs coasting on their warmth.
https://williamtyler.bandcamp.com/album/modern-country
The Earls of Leicester
Rattle & Roar (Rounder)
No popular music genre is melded to a formula like bluegrass. When Earl Scruggs joined Bill Monroe’s band in 1946, that was it; for decades, hardcore bluegrass artists have stuck proudly to the blueprint —David Peterson even named his backing band 1946.
Dobro virtuoso Jerry Douglas’ latest project has a similarly tongue-in-cheek name, which doubles as a declaration of purpose. Like all traditional bluegrass bands, The Earls of Leicester is basically a cover band; the difference is its specific focus on the repertoire of Lester Flatt and Earl Scruggs. The Earls deserve credit for eschewing the greatest hits temptation, highlighting lesser-known charmers like “Just Ain’t.” And the pickers have the goods—while Scruggs is untouchable, banjo player Charlie Cushman ably fills the daunting role, shining on “Flint Hill Special.” On the flip side, with his sympathetic adherence to Josh Graves’ style, Douglas effaces his own vast skills, and none of the singers approaches Flatt’s charisma. Rattle & Roar is a loving, if deferential, tribute; ultimately, it’s a reminder of the greatness of Flatt & Scruggs.
The Moontrotters
The Moontrotters (Patuxent)
Of local import, youthful string band The Moontrotters has released its first album, abetted by Nate Leath, Danny Knicely and Mark Schatz. While old time dominates, The Moontrotters are at home with a host of styles, including Scots-Irish fiddling (“Durang’s Hornpipe”), parlor waltzing (“It Takes One to Know One”), even bossa nova (the endearing “Lost Man In a Foreign Country”).
The Moontrotters features songs by Staunton’s Nathan Moore as well as original material. Banjo prodigy Victor Furtado (no relation to five-string whiz Tony Furtado) contributes “Victor in A Minor” and “Victor Vindaloo,” a blazing modal clawhammer number regrettably hampered by the addition of Schatz’s hambone, a visually entertaining form of body percussion that’s distracting on a record. Furtado is a badass (crucial, when you name songs after yourself) and fiddler Isabella Gorman sticks right with him on “Breaking Up Christmas” and “Richmond,” while Charlottesville’s Luke Barnhill provides solid backup on guitar throughout. In isolation, Barnhill and Lauren Wasmund’s vocals are on the light side, blending well in harmony, as on “Mississippi Pearl.” The Moontrotters is a promising debut.