Memorable collection of songs as rugged and raw as the mountains and people who inspired them.
Behind every family lies a multitude of stories passed down through the generations, some more intriguing than others, but made all the more captivating when brought to life by a masterful storyteller. Chris Comper, who records under the moniker Prinz Grizzley, is one such storyteller. Tilda is a concept album that acts as a tribute to Comper’s grandparents, most notably his grandmother, for whom the record is named. Each song is shaped by specific experiences in his grandparents’ lives and, in a sense, they are love songs chronicling their true grit, spirit, and perseverance through periods of love and loss. Over fourteen terrific tracks, Comper presents a well-curated collection of songs; honest and raw, tragic at times, but ultimately uplifting. And it’s a tribute to Comper’s songwriting and the band’s perceptive performances that the highly original and varied instrumentals work wonderfully individually and collectively, never disrupting the flow or feel of the record.
Stylistically, there’s much to like here. Following a striking vocal introduction by Comper, the sparse, banjo-driven opener, Put Me Down (A Foreign Man), sets things in motion, coming across as a sweat-soaked spiritual led by some impassioned singing. It’s a big sound with lots of emotion, and Comper sings like a man possessed. If ever there was a song to grab a listener’s immediate attention, this is surely it. Honest and pure, his thoroughly convincing vocals and playing sell the song admirably.
The mid-tempo, gently strummed Rose on Garbage Hill (The Daughter) showcases another facet of Comper’s expressive singing. It’s a sweetly sung tune, with lightly plucked mandolin and ghostly steel guitar providing some lovely textures as the song gradually picks up pace before finishing with some exquisite a cappella vocals.
The wonderfully jaunty Dance of the Shovel (The Foreign Son) is the first of three sprightly instrumentals included on the album. It’s loose and fun and features some absolutely frenetic banjo and mandolin playing, producing a sound that combines Eastern European folk song traditions with the rhythmic chants of a railroad work song. The Long March (Troubled Times Ahead) is a nod to a classic spaghetti western sound, complete with whistling and mariachi horns that give it a distinctive otherworldly feel, whereas Bridge Shuffle (Death of a Boy) is a boozy musical romp played with wild abandon, full of off-kilter rhythms and junkyard percussion meant to evoke, as Comper relates, a boisterous bar scene.
Reign on Queen of Mountains (A Price To Pay) is a driving bluegrass number, driven by some stellar flatpicking banjo and mandolin playing and propelled by a forceful rhythm section that sends the song into overdrive. It’s a fine example of Comper’s knack for writing a sturdy melody, and equally, his ability to serve up authentic slices of storytelling. Here, he turns a tale about his grandmother’s curiosity and love of her mountain home in the Austrian Alps into a cautionary tale about existing with nature: “It ain’t all lost, a glimpse of hope to see / Queen of mountains / Let’s teach our children to leave nature be / Queen of mountains / Let’s take your chains off and set you free”.
Elsewhere, he demonstrates a real feel for authentic country on the slide-guitar-infused Moon Over Green Mountains (Falling in Love), an adaptation of Move Over Montana reimagined for the Austrian Alps, and on the stunning, slow-burning A Mountain to Be Tamed (The Struggling). A folkier side emerges on the beguiling Pull Me Up (Not Everything is Perfect), its delicate acoustic melody aided by haunting pedal steel and sincere delivery featuring a softer side to his singing, while WWII (Surviving) displays his gift for crafting remarkable stories rich in emotional depth and honesty, along with some impressively nimble guitar work.
The gospel-inspired Watch Me Rising (Rest Easy My Old Heart) winds everything down to a subdued close. It’s a genuinely moving piece dealing with redemption and Tilda’s acceptance for whatever comes next as she nears the end of her life. It begins with some eerie, sustained organ notes, eventually joined by some lightly strummed guitar and horns evoking shades of The Band at their country-soul best. Passionately delivered, it’s a striking piece of music that signs off an album of deep emotionality in grand style. Overall, Tilda is a splendid listen that encompasses a range of Americana styles: country, folk, bluegrass and gospel, unified by Comper’s accomplished writing and distinctive singing. A highly enjoyable listen.