Dixie Dirt "Pieces of the World" CD
[self-released]
I'm impressed. I had never heard of this band before (though this is their third full-length), so I had no idea what to expect from this. What I did not expect was over an hour's worth of often stunningly brilliant material that ranges in terms of particular style (the band has certainly succeeded in creating an uncategorizable sound), but never in terms of somber atmosphere or powerfully moving emotion. It reminds me a few different artists, but I'm not naming names, because there's a really curious blend of influences here, many of which come from circles that I myself never really travel in, but the end result here is something I appreciate 100%, and it really hits me pretty hard, so I'm quite enthusiastically into this disc. What's it like? Well, the title track, for example, is a nine-minute epic that very curiously walks a line between dry, natural indie rock and the type of dark, moody ballad you might hear from anyone from Bruce Springsteen to Neil Young, and yet not at all like any such traditional songwriting in terms of its abstract structure that builds around repetitious lulls and restrained, pulsing drums that are barely audible behind the droning, winding guitars - not to mention the way that the vocals sort of come and go as they choose, leaving the piece largely instrumental, and without any hint of verse/chorus arrangement in the very least. The vocal performance is quite impressive throughout the disc, with lead vocals delivered by chief songwriter Kat Brock and at times accented by other members of the band, where her soft delivery and somewhat limited range is really quite effective and engaging, especially considering the bare honesty of her lyrics (which aren't included in the booklet, but can be picked up in bits and pieces throughout - "I laugh when it's not funny, I laugh when I don't get it, but I'll pretend I get it, stay up all night and talk shit, go to bed and forget it..."). There's definitely somewhat of a twang to her voice at times, perhaps since the band hails from Knoxville, TN, and that might indirectly add to the melting pot of influences swirling around in these songs, but whatever the case I'm a big fan, and I think the character of her voice is a very unique and valuable attribute for the band to possess. Another longer track, the 7+ minute "Driving" is built almost entirely around one lone set of riffs - a slow arpeggio in the right channel and some chorused chords in the left, with keyboards gradually increasing in volume in the center along with layers of singing deeper behind the instrumentation; with percussion finally coming in past the five-minute mark as the guitars start to increase in volume and regain control as the two riffs blend together and lock into more structure with the rhythm section. The joint "Sleep Part I" and "Sleep Part II" are among the few segments that actually get to the point of full blown distortion and some caustic guitar work that acts as a bit of a departure from the slow pacing and calm darkness of the majority of the album, though admittedly I'm not totally sold on that aspect of the songwriting. There is indeed a good deal of promise present, but I do prefer the softer, sorrowful edge of some of the other tracks (though the latter component "Sleep Part II", does achieve a greater balance that I can get into). They can also start to lose me with some of the keyboards in "Long Distance", which is somewhat of an odd track (basically the only one I think I might dislike) in its cinematic shifts from jazzy drumming and quirky synths to almost narrative singing over faint basslines and percussion - which almost amounts to some sort of gloomy lounge music or something!? Not my favorite track, which is unfortunate since it's almost nine minutes long, but... curious, nonetheless. Vocals take the lead role in "15th Street" as well, over quiet keyboards and swells of guitar feedback that eventually form a concrete chord progression five minutes into the seven-minute running time, quickly increasing in volume and density as the vocals basically dissipate. It's still opener "So Good So Bad" that sticks with me the most though, using a slow, monotonous guitar line beneath the vocals repeating, "You're gonna have to stop, 'cause I can't breathe," before accompanying horns come in to close on a shockingly successful note: So simple, yet so amazing. I have no quarrels with the recording either. Everything sounds crisp and natural with a lot of dense presence and warm tonality. Sometimes it sounds like they intentionally dry things out and add some distance to elements of the mix, which is also nice, but for the most part things are pretty consistent in terms of overall feel and texture. I think the distorted guitars in ("Sleep Part I" and "Sleep Part II" specifically) could use a little more oomph to better match the fullness of the vocals and the lush clean passages emphasized throughout the disc, but these are rare instances, so it's not something that's of great significance overall. The layout looks very nice as well, also consistent and rather simplistic, using a nice color scheme and minimal imagery with very little text. I do wish the lyrics had been included, but at the same time, there's something about that decision that makes sense, as the music does lend itself to a certain degree of mystery, so perhaps it is nicer that you're left to figure things out and make your own deductions. Such a pleasant surprise, this one. Not for everyone, but do look into it if you enjoy the lighter side of the coin from time to time and have an open mind. I had no idea I would be so impressed by this record, but it's the unexpected little surprises like this that keep me going as far as even bothering to spend so much time writing record reviews, so... whoever sent me this CD: Thanks, I'm quite grateful. (8/10)
Running time - 64:12, Tracks: 10
[Notable tracks: So Good So Bad, Pieces of the World, Badlights, 15th Street]
Dixie Dirt - http://www.dixiedirtmusic.com

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