From touring extensively as Kasey Chambers’ lead guitarist at age 19, Brandon Dodd, now 24, has made quite an entrance into the world as a solo musician with the release of his debut album, 'What A Way To Die'.
The early 2020 record is striking in its ability to waft recollections of a simple Australian childhood, with experiences of a global stage, neatly packaged within alternative blues.
We are introduced to Dodd, and the raw soundscapes and lyrical depth which the album fosters, via the first single and track 'Absolute'. Simple acoustic chords and a lazy pedal steel guitar create this idea of home; there’s something really familiar about the Australian country sound. This feel is essentially what remains throughout 'What A Way To Die', albeit overriding album structures sees each track gently move in and out of genre confines.
In an age where the art of the album in its entirety is slowly sinking under the tenacity of online music platforms and the changing behaviours of music listening, complete bodies of musical work which extend beyond singles are becoming increasingly more difficult to find. This is not to say that albums are diminishing, but the overriding structure that binds track listings to the intention of listening to something in full, rather than a single or within a mix, is most definitely under pressure.
Perhaps a gross generalisation to make, but as a serial album listener from start to finish, I have found that the multitude of contemporary, independently produced records are the ones to go to for an encompassing and thoughtful structure which goes beyond individual tracks.
Dodd does this by alternating each track from a more somber and acoustic soundscape, to more gritty alternative rock tones through electric textures, high hat/crash ostinati and the kind of vocal distortion you’d hear on early Jake Bugg records. There is this slipping in and out of the Australian countryside and a bluesy underground bar, which is almost seamless. There is so much different music that is going on in this album, but the track listing isn’t jagged or ill-fitting. It’s kind of like a musical paradox. Each track is massively different, but there is this consistency and place, which remains.
What also remains consistent, is this 6/8 swing feel. Even in the rockier tracks, ’Like a Diamond' and 'Whisky Room Shuffle', there is a distinct groove which binds these songs, regardless of their energy levels.
The album is fun, but it’s also incredibly intricate. We can hear this in the Paul Simon-esque treatment of guitar lines in 'Aberdeen', and the Bob Dylan balladry in 'Dalai Lama'.
The album’s final track 'Forgive Me' reestablishes this idea of an album structure. It brings the musical celebration of a grassroots solo musician to a respectful and humble close. There is a closeness in this song; just guitar and vocals. It’s a steel string acoustic, but with a slide that gives this kind of messy, metallic quality - matching the gruff timbre that Dodd’s voice conjures at times. At others, his vocals move from delicate vibrato and breathy whispers, and back again to his gravelly tenor.
Recorded and produced at The Rabbit Hole Recording Studio on the Central Coast, an establishment run by Dodd and Chambers respectively, creates this intimate soundscape and innate familiarity with a sound that came to life in such an honest environment. In doing so, Dodd also challenges ideas of archetypal blues and country, with an exploration of sound that encompasses a soul much older than 24.
'What A Way To Die' is a phenomenal solo debut.
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