Bill Callahan is a veteran when it comes to
putting out records. As his former moniker Smog, he released 11 albums spanning
15 years, and almost all of them were REALLY good. Since dropping the Smog
name, he has released three studio albums. Dream River is his fourth, and comes
highly anticipated after the success of his last two solo albums, both being
very well received. While the albums he released under the Smog pseudonym were
more in line with what might be referred to as 'indie' or 'lo-fi', his
self-titled Callahan releases are definitely more along the lines of
traditional folk or country music. Dream River is no exception to this, with
sounds ranging from Townes Van Zandt to Frankie Miller in influence and more traditional
instrumentations.
Dream River starts with “The Sing” a moody minimalist ballad
of day drinking and has a strong sense of Americana. The crisp violin in and
out of the tune seems reminiscent of an Emmylou Harris 70s album. Its lyrics
are very Bill Callahan: Uplifting in sound and at first glance, but
incredulously sad upon closer examination. The album definitely seems to pine
for a younger simpler America, without plastic mouldings and internet culture.
The phrase, perhaps a bit overused but definitely true in this case, Callahan
is truly an old soul in a young form. His lyrics confirm this.
One of the best
songs on the album is “Small Plane” a reflecting track, with a sense of Bill
Callahan genuinely looking back at his monstrously impressive discography,
perhaps his past relationships, including a long and wonderful stint with folk
singer Joanna Newsom, and when he sings “I really am, a lucky man,” the truth in
his voice is staggering. Some of the middle of the record is a little weaker.
Tunes like “Ride my Arrow” and “Summer Painter” are not necessarily bad songs,
but are overshadowed intensely by the rest of the record. The instruments on
“Summer Painter” seem jagged and uncoordinated at times. Like someone said
“well, we have to add this…” and ended up with a bunch of effects and sounds
that just make it sound messy and don’t add to the overall quality of the song.
The lyrics are wonderful of course though; Callahan’s poetic lyricism is always
his ace in the hole. The album isn’t without Bill Callahan’s traditional
tearjerker. Since albums like The Doctor Came at Dawn, Callahan’s been
releasing albums with tracks that will absolutely tear your heart out. Dream
River is no exception. The final track “Winter Road” is a resolute and weary
one, echoing with the tired lyrics of a man who has written hundreds of such
tracks and really means what he’s singing. He’s lived it, he knows what he’s
talking about. Something about his deep and masculine vocals singing sweet and
sad lyrics are particularly potent and touching. Again, the sense of Americana
in the album is enormous. The very artwork makes this apparent, perhaps paying
homage to great watercolour paintings by early American landscape artists like
Carl Oskar Borg, Thomas Cole and William Bradford. It’s a very relationship
focused record.
While Callahan has been writing songs about women since the
80s, it’s pretty obvious he’s in a relationship now and is writing songs about
it. He seems happier – perhaps more optimistic than his time writing a record
like A River Ain’t Too Much to Love or The Doctor Came at Dawn. The songs in
general on the album show his progression in only a few short years. His last
two albums Sometimes I Wish We Were An Eagle and Apocalypse were both extremely
well received, better perhaps than even the majority of his Smog albums. So the
expectations for Dream River were fairly high. And it does seem to pay off
fairly well. Though it doesn’t perhaps hold the sheer brilliance of Eagle, it’s
a close second and a record to be proud of.
~Johnny
7.9
