‘LOVE RIDES A DARK HORSE’
6 OCTOBER 2017
‘LOVE RIDES A DARK HORSE’
6 OCTOBER 2017
“Song cycles about broken relationships from moody singer-songwriters are almost a cliché at this point. But when you hear Landry’s looming yet subtle baritone — somewhere between Leonard Cohen, Kris Kristofferson and Dave Alvin — unspool stories of broken hearts, there isn’t a predictable or insincere moment to be found.”
“…these tunes are nearly cinematic in their approach, taking time to unwind at their own pace like a foreign film that gradually gets under your skin.”
“Landry crafts beautifully, often heartbreaking scenarios played out over rootsy, Americana folk/country ballads that, even with the somewhat shadowy subject matter, are conceived from a hopeful heart.” ★★★★
“The record is a beautiful combination of evocative storytelling and aural cinematography, with subtly graceful instrumental elements and Landry’s exquisite baritone hitting their emotional targets throughout. Emerging from the darkness of professional and romantic disillusionment, Gill Landry has created a triumphant album that singularly fits his definition of “dark horse” – “a candidate or competitor about whom little is known, but who unexpectedly wins or succeeds.” 9/10
THERE GOES THE FEAR
“Landry has emerged a better, deeper and more honest songwriter”
“not only a vocally candid experience but a visually rich and evocative one that lingers long after the fire has burnt down and that bottle has been drained.” – You’ve GOT to hear this
A MUSIC BLOG YEA?
“…he seems to have hit a rich vein of songwriting …a superb collection of songs, lovingly crafted with atmospheric arrangements.” ★★★★
COUNTRY MUSIC PEOPLE
“a painfully beautiful, personal album becomes a powerfully relatable musing on the universal nature of heartbreak.” ★★★★½“
THANK FOLK FOR THAT
“Denver Girls, sets an epic tone for the album – with dark mournful chords, and a grandiose retelling of a betrayal, it’s akin to Lee Hazlewood at his best, right down to Gill Landry’s growl of a baritone.” 9/10
“a dark gem” ★★★★
“musical opera heart surgery – raw, intense, but ultimately life affirming” 8/10
THE MORNING STAR
“Love Rides A Dark Horse” sounds as if Leonard Cohen and Tom Waits had recorded a country album …one of the best and most impressive dark country releases all year.”
“you can not help thinking about artists like Leonard Cohen and Tom Waits… Gill Landry belongs among those artists” ★★★★
“this is the essence of the blues but delivered in velvet gloves, a blend of country folk and Americana thick with hushed intimacy and tattered narratives.” 4/5
“One for the end of year lists.” ★★★★
“a great favourite here in the editorial team, and to my ears it is one of the best albums of the year”
DUST OF DAYLIGHT
“a rich and sumptuous slice of melancholia”
BLABBER ’N’ SMOKE
“an exquisite offering of lyrical poetry and graceful musicianship”
TAHOE ON STAGE
“a great ability to wrap powerful storylines in the most eloquent of melodic structure. …delivers his message with suitably disturbing impact and humour”
GOD IS IN THE TV
“I first saw Landry at Green Man festival this summer and was captivated by his voice – a rich, warm baritone which manages to be both seductive and raw”
GILL LANDRY (Love Rides a Dark Horse)
Dark Horse- ˈdärk ˈˌhôrs / noun
“A candidate or competitor about whom little is known, but who unexpectedly wins or succeeds.”
Love and hate need each other for either to have meaning and I feel like it’s the same way with people. I’d like to believe love always wins coming down the stretch—it just might not be the way you envisioned it. In my experience love often isn’t what I expected and wouldn’t be half as good if it was. That basically is what I wrote this album about.
Townes Van Zandt once said “There’s only two kinds of music: the blues and zippety doo-dah.” I’ve always loved that. In my opinion, labeling music sucks, but clearly marketing and classifying music without some label is near hopeless, so here we are. This is not a blues album, though if someone asked me what kind of music I write, I’d like to say blues. Blues singing is an exorcism of the blues itself, and that’s how I relate to what I write. This album for me is an attempt to shine a light on my various traps and sorrows as well as explore their emotional depths. I try to purge hard times in song and can only hope that through sharing these glimpses of hard-to-pin-down emotions, others may feel less alone. So that’s how I approach songwriting—hopefully not wasting anyone’s time, and contributing meaningfully to the conversation within the songs of man.
Since making my last record, I destroyed all the pillars of my life intentionally and by accident. I found myself wondering what the hell I was doing, and had to slowly start rebuilding. When you go back to the ground level in any field, with your toes in the dirt, you’ve got to really want to do it. I already came up through the clubs, playing all the small gigs, busking the streets, and also got the delusions of grandeur that come from playing in much bigger places. When you’ve been through it and you know how much work it is to start from the bottom, you have to ask yourself if it’s truly what you want. Here we are, so I guess the answer is yes.
A little over two short years ago, I was set to be married to a woman I loved very much, had just won my second Grammy with Old Crow Medicine Show, and life was good by all perceivable standards. However, I was deeply unsatisfied artistically and needed to leave the band. After the first year of touring my last album, I swore to myself I wasn’t writing another goddamned broken-hearted love song, but then my lover took flight and I found myself alone, worn out, disillusioned, and heartbroken in a way I hadn’t known before. The future was looking like an exhaustingly long walk through a knee-deep tunnel of shit ending in death, so, it seemed like it wasn’t going to be an overly joyous next record after all. BUT, I wanted to find a light in the darkness. This album is more of ‘a map out of the darkness’ than ‘an invitation to it.’
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 premise through most of this album can be summed up by the title “Scripted Love”. The songs reveal characters trapped in scenes they didn’t create as much as rehearsed. Their roles are played through narratives either engrained or sold to them through: Hollywood, social norms, family, fairy tales, etc. Hung up on “what’s supposed to happen” over what’s happening. They find themselves disappointed with the reality of relationships due to their false idealisations. 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.
In December, I spent two weeks on the Washington coast at a friend’s place where I wrote over half of these songs. I was alone with the cold wind and rain pounding in from the North Pacific. Then I ended up back in Nashville living above my friend Nikki Lane’s for a few months where I wrote the rest of them. I moved to a cabin in the country outside Whites Creek, Tennessee to record the album and then took it on the road where I finished vocals and bits in Stockholm, The Isle of Skye, and Blue River, Oregon.
I wanted to personally tell the story behind this record, but there are some things I can’t write so freely. Here’s all the name-dropping, self-congratulatory bits that I’d feel like an ass saying myself, written by a professional.
Gill Landry’s ‘Love Rides A Dark Horse’ follows his critically acclaimed self-titled 2015 album, which featured appearances by Laura Marling and Robert Ellis among other musical pals. Rolling Stone raved that the record landed at “the four-way intersection between Dylan-inspired folk-rock, atmospheric Americana, dusty cowboy songs and street busker ballads,” while American Songwriter hailed it saying “these songs, and especially Landry’s honest performance, resonate long after the last note fades. They beckon you back to further absorb his heartfelt, occasionally comforting, musings on the trials and tribulations of romance-gone-sour. It’s a subject most of us have experienced, can easily relate to and one that Landry explores with taste and subtle, refined passion.” The album earned Landry dates with Ben Harper, Laura Marling, Brandi Carlile, Justin Townes Earle, Warren Haynes, Bruce Hornsby, The Wood Brothers, and more, in addition to festival appearances in the US, UK, & Europe.
‘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 favour 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 sparse “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 sanitisation of contemporary culture.
I hope you dig it.