Total absorbtion from the mountains of Slovenia.
For this, his seventh solo album, Chris Eckman introduces a more layered, richer feel than its predecessor. The languid vocals that alone generate so much atmosphere remain but he has filled the previous sparseness with lush sound. His subjects, so often people and places in America, are now closer to his Slovenian home. Musically and geographically Eckman has travelled a long way from Seattle where his musical journey began as the main songwriter with The Walkabouts, the indie rock folk band he formed with Carla Torgerson in 1984. His songs have been recorded by Townes Van Zandt and Steve Wynn among others and his various side projects have involved Brian Eno, Peter Buck of R.E.M. The Warsaw Philharmonic Orchestra as well as many more local to his studio in Ljubljana.
This fuller sound hits the listener immediately on opener ‘Genevieve’, its gentle pace and delicate piano are enveloped in a swirl of strings, synth and feedback guitar that are intensified by Slovenian singer-songwriter Jana Beltran. Unsurprisingly, this is a sad song. Seasons pass and as the plea to Genevieve remains unanswered, “Genevieve come home/ I’ve been taking care/ Finally got my act together”. Almost blending into each other that atmosphere billows into ‘Town Lights Fade’ that is charged by producer and guitarist Alastair McNeill’s guitar. ‘Running Hot’, the country-tinged ‘Haunted Nights’ and particularly ‘The Cranes’ continue in an immersive, slow tempo. Those reflective songs explain Eckman’s comment, “There’s surely a sense of loss in the album, but it’s also about trying to take control of one’s life”. But he does not spell anything out, leaving the listener to interpret what often seem like a series of images flashing across a screen.
But this is not all sombre introspection. Despite its pretty title ‘Buttercup’ raises the tempo and features some powerful feedback guitar. If that tilts towards Neil Young then ‘Laments’ is definitely Crazy Horse. Moody chords build up into a full-on blast that could only have been recorded live culminating in the defiant, “I’ll never ever/give you up”.
With his excellent locally assembled band “The Land We Knew The Best” must be the musical equivalent to getting lost in the mountains and forests of Eckman’s adopted home. To say this is a rewarding listen would be a complete understatement. Aficionados of Eckman should be pleased and those new to him have a lot of fine exploration ahead.
