Chicago-based guitarist
Bill MacKay has built a catalog embodying several genres and few boundaries. The self-released works flirted with improvising on folk-pop instrumentals, teasing vanguard electric jazz, blues, and Americana (evidenced by the
Sounds of Now,
Broken Things'
Swim to the River, and three
Darts & Arrows recordings). He's issued three wonderfully idiosyncratic, solo albums --
Chatham Park,
Esker, and
Fountain Fire -- and three more with guitarist and vocalist
Ryley Walker. There are two experimental dates,
Stir with cellist
Katinka Kleijn, and
Keys with multi-instrumentalist
Nathan Bowles; a solo outing of
John Hulburt tunes;
Black Duck with
Doug McCombs and
Charles Rumback; and
Foreign Smokes with
Bitchin' Bajas'
Cooper Crain. This brings us to
Locust Land,
MacKay's fourth
Drag City outing. While it settles comfortably between
Esker and
Fountain Fire, it offers a distinct musical profile.
MacKay is assisted selectively by drummer/vocalist
Mikel Patrick Avery, vocalist
Janet Beveridge Bean, and bassist
Sam Wagster. This is the first time that, other than an upright piano,
MacKay has woven his electronic keyboards into a session.
Locust Land contains nine songs spread over 30 minutes.
MacKay delivers a seductive weave of dreamy soundscapes and instrumental textures, lyrical songwriting, guitar improv, and organic production.
Opener "Phantasmic Fairy" offers fingerpicked electric guitars wrapped in reverb, piano, backmasked production, and whispering keyboards that float and hover for just under two minutes. It's answered by "Keeping in Time," a plaintive vocal number with acoustic guitars and distorted electrics balanced by a lyric and melody that recalls, strangely,
Savoy Brown's "Train to Nowhere." "Half of You" is introduced by a strummed acoustic guitar and adorned by serpentine electric guitar fills and vocals. Single "Glow Drift," with
Avery and
Wagster, is a rocking instrumental that crosses surf, the
Velvets, and Southern California psychedelia with dirty guitars, Farfisa organ, drums, and a throbbing bassline. "Oh Pearl" offers a cut-time country music cadence delivered by mandolins, droning electric, slide-strummed acoustic guitars, and wafting keys. "Radiator" is instrumental psychedelic rock, driven by filthy electric guitars and an organ playing the progression chords. It sounds like
Crazy Horse with
Can's
Michael Karoli on lead guitar.
MacKay's fills are biting, bluesy, and economical. "When I Was Here" is another rocker, this time with vocals and autobiographical lyrics that amount to a mission statement.
Avery and
Bean provide multi-part wordless vocals arranged in neo-classical rounds on "Neil's Field," wafting atop a droning organ, acoustic guitars, and drenched in reverb. It segues into the closing title cut, a modal acoustic guitar tune with multiple layers of six-strings and gorgeous electric lead and slide fills; it's a loose, wonderfully tangled, melodic jam that recalls, in spirit,
David Crosby's "Music Is Love."
Locust Land is arguably the finest of
MacKay's solo albums because it is so self-contained. It reflects his musical history in the present, while providing canny hints about what the future may hold. ~ Thom Jurek