If the term ‘saving country music’ can be considered an
ethos rather than just a popular website, the new record by Austin Lucas not only
shores up the defences, but re-loads the ammunition. BETWEEN THE MOON & THE
MIDWEST is seeing the light of day through a collaboration between US label Last
Chance Records and its UK partners At The Helm Records. Apart from eventually giving
Austin Lucas a well-earned pay check, the other winners are those folks hooked
on ‘how they used to make ‘em’ countryrecords as this ten track album unwraps
in an aching vocal malaise of cliché free splendour. Using the bitter
experience of reality and frustration, the record adopts a near-concept stance
while offering a sombre serving to those seeking the solace of a sad song sanctuary.
Austin’s path to making a country album echoing the vibes
created across the industry by Sturgill Simpson came from his indie/alternative
background via the last album STAY RECKLESS which laid down the twang marker.
The new record wastes little time in enhancing that mark and the painful opener
‘Unbroken Hearts’ makes an immediate
case for being the country song of the summer, or at least the spring.
Reverberating the album’s title in its chorus, ‘between the moon and the Midwest' could be where outlaw country has been hibernating until the time is right to
return to the pinnacle. This song takes no prisoners in its directed attack,
deeply personal in its sentiments and plants the perfect hook for the rest of
the story to be told.
Several characters are introduced and returned to frequently
over the next nine songs notably Kristie Rae and William We are advised of
their fictional status but left to surmise their representation and they
certainly lend some sincerity to Austin’s writing. This mainly takes place from
a solo angle with the occasional co-write, although it can be detected that the
solo ones pack the more powerful punch. ‘Kristie
Rae’ is actually the title of track #3 after a good ole country rocker in
the name of ‘Ain’t We Free’ maintains
the momentum after the superb opener. Fictional or not, ‘Kristie Rae’ revs into action after an acoustic start and begins to
convey the personal pain that flickers continually to ensure this is a record of
deep substance. This track also introduces the third dimensionally placed
character ‘William’, also the title of
a stripped down song in the album’s latter stages. To further enhance the
concept status, the closing track ‘Midnight’ threads in a letter penned from William to
Krista where Austin’s
pontificating gets deeper and more spiritual. You should be starting to get the
message now that this record is not for the faint hearted and heavily recommended
to be consumed with the lyric booklet in tow.
This album re-energises the spirit of country music storytelling
and vocal assistance has been provided by three eminent performers on the right
side of the line in Lydia Loveless, John Moreland and Cory Brannan. Lydia makes
the most profound contribution singing harmony and duet pieces on ‘Wrong Side of the Dream’ which evolves
into one of the album's stronger stand-alone songs. As you would expect, pedal
steel is prevalent throughout the record that is probably defined by the heartfelt
style in which Austin sings the songs, soaked in pure emotion. Lyrically the
record hits a splendid metaphorical low in ‘Call
Me a Doctor’ when demons are well and truly faced amidst the line ‘call me
an undertaker…y’all can watch me disappear’. Having introduced you to seven of
the tracks, it would be remiss not to acknowledge the other three. ‘Pray for Rain’ is a howling country
standard drooling in pedal steel guitar. ‘The
Flame’ is synonymous with the writing theme of using direct address, while ‘Next To You’ re-introduces Krista, as
loss is categorically lamented.
The good news is that Austin Lucas has survived the making
of this album and is returning to his old stamping ground of Europe to give the
record a hefty launch over here. Of course BETWEEN THE MOON & The MIDWEST
has its rough edges, but that is what you would expect from a real country record and
this harnesses the honesty. Entirely introspective and wonderfully wearisome,
it achieves its objectives without any hesitation and adds considerable weight
to the ‘saving country music’ ethos.
www.austinlucasmusic.com