Striking stories intertwine in the vast, changing Californian landscape.
Influences are always a tricky subject, perhaps better addressed directly and just as swiftly forgotten. ‘Points of Origin’ is Will Stratton’s eighth studio album, no small feat for any artist. It has been a long journey since his first release ‘What the Night Said’ back in 2007, and after the growing recognition garnered by his most recent efforts ‘Rosewood Almanac’ (2017) and ‘The Changing Wilderness’ (2021), Stratton returns with a masterful new album, ripe with influences. Like with many outstanding artists, Stratton’s songs bear the traces of those who preceded him, while still maintaining a uniqueness that renders these comparisons mere observations. The influences of the likes of Nick Drake and Sufjan Stevens are evident, but if one sets these considerations aside, it’s clear to see that ‘Points of Origin’ is one hundred percent the mind and soul of Will Stratton. And this is no contradiction. Bob Dylan (via Walt Whitman) knew exactly what he was talking about when he wrote ‘I Contain Multitudes’.
‘Points of Origin’ is a rare gem of an album. It’s music bursting with poetry, narrative, filmic suggestions, and of course, life. It’s the kind of work to be enjoyed in a quiet room, eyes closed, letting the succession of vividly evoked images reel by like a subliminal companion piece. There are many ideas at play, ranging from shifts in nature to individual daily struggles. Ancient yet enduring landscapes are presented as the vast stage for our human folly, which begins to take its toll on the environment. As the album progresses, you hear varied accounts of broken family ties, lives on the road or in prison, the escape from past lives, yearning for things lost or never found. Alcohol, love, schizophrenia, spirituality… all is present in the lives of this motley cast of characters, brought to life by Statton’s soft voice and magnificent arrangements. Music and literature intertwine flawlessly.
“I lost track of family when I was nineteen”
The album begins with what could perfectly well be the intriguing opening line of a novel. In the same way, ‘I Found You’ arrests your attention with the promise of stories to unfold. This first track also sets the tone for what will be the musical core over the following songs. Delicate guitar picking, piano overdubs, understated drumming, and occasional steel guitar flourishes remain as variations in instrumentation take place, giving each track a distinct yet cohesive sound. Attentive ears will pick up on shakers, brushes, and the beautiful backing vocals even if distracted by the more-noticeable irruptions of saxophone, fiddle, strings, and overdriven guitar. The dynamic climax is reached in the ‘Bardo or Heaven’, as a powerful brass ensemble whips up a perfect storm, eventually cut short, in striking contrast with the rest of the album’s subtle fadeouts.
‘Slab City’ closes the album, setting Stratton and his guitar at centre stage for an appropriate, gentle epilogue. As the final moments approach, listeners are serenaded with variations of a recurring phrase, much like an ancient psalmody, one that is difficult to forget:
“Now we play with fire, blind with desire, heading for that good dead end”
