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A pre-hurricane weather report precedes the slurry wash of Dark Cloud Lightning; from its core of droning organ sounds, sparsely jangling strings emerge. In its more-than-ten-minute evolution, the track shifts into other areas of obscurity (not the one in Texas) with reverbating song samples (with plenty of transmogrified female voice) tossed in and around.
The track abruptly cuts off, to resurface in even-more-altered forms in Where Dust Settles. There, odd ripples and other acoustic tricks are played on the otherwise sprawling radiance. The piece concludes with a kitschy on-air reading from a "cowboy radio show". In Strange Lights on the Prairie, repeated musical bits, including bassy twiddlings and vaguely vocal parts, spiral into a murky series of loops.
Opening on similar ephemera, The Ballad of Marky Martin soon receives lonesome whistling, guitar strums and whispery, off-color (and Cockney-accented) lyrics atop the soft, swirling miasma. Some previous sounds are revisited as Suitcase on the Highway (3:39) stirs up more dreamily malformed clouds.
The airier atmospheres of Campfire Catfish (18:12) allow some breathing room between its twinkling twirlies, at least for a few minutes... further sonic diffusion of musical and spoken elements leads to more obtuse listening areas. Most of the many samples' former lives are only to be guessed at (except for the relatively obvious Texan hurricane warnings) though western six-strings and fractured snippets of country crooning are occasionally discerned.
Proabably coming closer than others to an identifiable "western" sound, Thumbs in Beltloops moseys along to lightly twanging strings, faraway strands of steel and a faint haze of cut-up radio country. Gas, Food, Trailer Park sort of goes out west too, though in darker billowing forms, before entering a completely different mode of warbling twilight rays.
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