It's been five years since The Dead South released their last album of their own work. A lot has happened in that time, both for the band and for the world in general. Although Easy Listening for Idiots, Parts I and II Released in 2022, this double EP was a collection of covers. So will this new album be a reinvention of The Dead South?
before hearing Chains and stakesI didn't expect a big turnaround from the Saskatchewan quartet. This is not a band known for breaking up and starting over. Instead, they constantly work on their craft and their sound, looking to improve a few levels each time. Why reinvent the cartwheel when it is progressing very well? Of course, I could be wrong.
The Dead South certainly has a loyal fan base. And also diverse. While their music certainly has a solid foundation in traditional bluegrass, they move through other genres, including folk, country, Americana, shades of rock, and a dash of alternative music. Perhaps this is one of the keys to its popularity among people of diverse backgrounds, experiences and ages. It may also be due, in part, to their beautiful hats.
We begin the journey through this 13-track album with 'Blood On The Mind'. This is a great introduction to the Dead South sound as they let loose with their hard-hitting style of bluegrass mixed with a touch of Barenaked Ladies lurking in the back. Nate Hilt's voice rasps over gorgeous banjo rolls, leading to an infectious burst of foot tapping. Someone, please pass me my moonshine!
The simple melody of 'Yours To Keep' hides a dark story. With an understated banjo and guitar, this sounds more like a rock ballad than bluegrass. “Walking drunk, briskly from the accident scene/It felt so good how high you were that it wouldn't last/You broke a few hearts… a couple of promises too/Left arm, left leg, your eye socket is blue , oh/Will the pounding in your head ever stop?/The taste of blood encased in mud: it hurts on top.”Hilts delivers with his distinctive style.
If you want an example of excellent banjo playing, Colton Crawford offers this, and then some, on '20 Mile Jump'. He prepares your best yee-haws as you are hit by a ferocious sonic boom. It's like The Pogues soaked in bootleg whiskey and washed in a clear Appalachian stream. It's a song about love and the attraction of alcohol over the love of a good woman, an addiction that will stop after the next bottle… but we all know it won't.
'Where Has the Time Gone' gives us a little respite. One of the three short instrumentals on this album provides the listener with a palette cleansing. It also allows The Dead South to demonstrate their musical prowess, as here we are treated to a beautiful and moving song that proves that these guys are no one-trick ponies.
In an excellent demonstration of how they blur the boundaries of musical genre, 'A Little Devil' is the closest thing to a pop song you're likely to get from this Canadian group, mixed with their Appalachian sound. A song that mixes love, religion and questioning faith, Hilt's voice is full of emotion and is musically accompanied by a sound full of passion.
“One day at the neighbors, I caught a flare/I fell in love with that Norwegian glow/We had a hippie, a cowboy and a scholar/A little tomboy and a little boy too”narrates Hilts as we are treated to a story of love and the importance of family in 'Son of Ambrose', from the cradle to the grave. A full country song, channeling his inner Willie Nelson, Danny Kenyon's cello adds a tantalizing richness to this track. I don't know how they do it, but despite a couple of later instruments and the addition of vocals (they make some wonderful three-part harmonies), The Dead South are able to create a sound full of emotion and songs that draw you in and hold you hostage.
'Clemency' is the second instrumental included here: a nostalgic, melancholic and sad musical interlude. It stops you in your tracks after the previous two stomps. Returned to neutral gear, I'm now ready for the next leg of my road trip to the Dead South.
Flavored as a rock ballad, 'Completely, Sweetly' revolves around a catchy banjo riff. That's not something I've said before in a review! A song with an epic feel, the middle section goes into a classic rock vibe but with banjo, acoustic guitar and tambourine. You really have to listen to it to understand what I mean.
On 'A Place I Hardly Know', we are vocally introduced to a rat pack-style singer performing smooth bluegrass with a rock 'n' roll edge. It's an unusual mix that coalesces into one great track. You certainly absorb the feeling of loneliness as the song's protagonist travels from city to city.
We return to a more traditional bluegrass and folk offering with two key aspects as a focus: mom and bacon. I'm sure there haven't been too many songs this bacon-centric. “Mommy loves her bacon, she loves it every day/I love her, so I make sure it's just the way she likes it, sweet and crispy/Put your slippers on your feet/Mommy, it's time to eat/Come on to look for your morning meat “Hilts shouts. Now, far be it from me to take a seemingly innocently porcine song and take it down an innuendo-filled alley, but I doubt I'm the only one who detects an alternative subtext in this song. Not suitable for vegetarians or vegans.
The Dead South then tackles the topic of insurance scams in 'Tiny Wooden Box'. It's not a traditional theme for a song, but they're not a traditional band. Presented in a minor key, the song has a sense of sadness and despair. The final instrumental is 'Yore', a beautiful banjo tune that leads nicely into the final track, 'Father John'. This is a completely sinister conclusion to the album that examines the abuse of power for personal gain. It's the kind of ballad you could imagine Johnny Cash singing in his distinctive, raspy voice.
“Rumors on the street/Well I hear they're coming true/That creep got 'em/Put 'em on a noose/Cause every word he said/People ate out of his hand/With just one word of crying/You could be dead”, Hilts spits as he tells the story of this vile cleric. It's a brilliant piece of country/folk style storytelling presented in true Dead South style. It's a great way to end an album.
Messrs. Hilts, Pringle, Kenyon and Crawford, ably assisted by co-producer Jimmy Nutt, have delivered an excellent fourth studio album that builds on their previous efforts. It has serious moments and some funny elements and is crafted with great musicality. The nature of their music leaves them nowhere to hide. It is clean, raw and unadulterated. While you will undoubtedly find your favorite songs among the thirteen on offer, you will be drawn to listening to them. Chains and stakes in its entirety most of the time. The playing order flows effortlessly as you let yourself be carried away by the musical flow.
I could give you a rambling rant, expounding on how good this album is and how it makes me feel. It would be easier if I said this: After listening to this album once, I immediately ordered it on vinyl (remember to support your local independent music stores, kids!). It drew me in from the first bars and kept me there until the last notes of the final song. I can't think of a greater compliment.
If anyone needs me, I'll ask for a Cowboy/Buckaroo style hat, cowboy boots, and a Colonel Sanders style tie.
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