The Swedish artist Jerry Williams recently released an album called "Ghost Rider" in an unashamed attempt to mimic American Recordings. He is not to blame and only a pawn in their game. The album was produced by Ian Person from the (disbanded) Swedish band Soundtrack of Our Lives. He has a personal responsibility. The album was released on Sonet (Universal). They have a heavy responsibility. I would like to be a fly on the wall when record company survivalists Buzzie, Flaps, Ziggy and Dizzy tried to think of something to do ("so what are we gonna do?/I don't know") and then shamelessly decided to capitalize on what has already been done (and so much better). For my non-swedish readers here's a short introduction. Jerry Williams was born in 1942 as Sven Erik Fernström. He made his musical debut in 1962. In 1963 his band The Violents was the opening act for The Beatles (at the time not so famous). Then a long solo career began with touring and albums. His music style is rock 'n' roll from the 1950s. You can buy his albums at gas stations. In 1996 his economic advisor embezzled him of $425 000 (which unintentionally prolonged his career). Jerry Williams is known to flaunt with his working-class background (almost everyone were working-class back then) and speaks with a nearly extinct Stockholm accent. He is also known for his pose holding his hand cupped behind his ear while shouting: "I can jive, I can jive". In later years his target group changed to profitable companies and their employees (a tax deductible activity). In 2013 he finally called it quits and went on a sold-out farewell tour. But in 2015 he was, to his big and unconcealed surprise, suddenly brought out of retirement. He was the perfect victim: man, old and well known. He would play the part of a Swedish Johnny Cash. New music isn't something one associates with Jerry Williams. He was a relic already in the late 1970s when he proudly declared that he liked to ride his motorbike and thought little about new wave music (it rhymes in swedish). However, we shouldn't be to hard on Jerry Williams. He's a professional artist and makes an adroit job. The guilty ones must be sought elsewhere. All you have to do is follow the money. From the artist to the producer and from the producer to the record company and Buzzie, Flaps, Ziggy and Dizzy. The love of money is the root of all evil. But, what's the point of replicating, when you have nothing to say? The awkward choice of songs stand out. A random generator seems to have been used. Johnny Cash didn't know all the songs that Rick Rubin suggested, but he made fantastic interpretations of them. Likewise, Jerry Williams didn't know about Suicide, Danzig, Iggy Pop or The Handsome Family. But the intepretations of the songs are not very exiting. The song Bad Moon Rising by CCR (almost over-covered and not the most exiting song to cover) is covered. However, 16 Horsepower made a remarkable version of the song a couple of years ago. Is it pure coincidence that the song ended up on this album? I don't think so. The Handsome Family was formed in 1993 and have released nine studio albums. Accidently, "Far From Any Road" (True Detective theme) has been picked from their very extensive catalogue of songs, which leads me to suspect that the producer didn't know about The Handsome Family before the TV series. Furthermore, to include your own songs on the album isn't very Rick Rubin-ish. But Ian Person presses in three of his own songs on the album. Not good. Anna Ternheim, a very gifted swedish singer/songwriter has lent herself to two duets. Her voice gives some consolidation to what happens here. A dead horse is getting flogged. The flogging isn't exercised in the name of music, but in the name of unrighteous music mimicking. The last drop of other peoples creativity is to be extracted. But, Ian Person isn't Rick Rubin, Jerry Williams isn't Johnny Cash and Sonet (Universal) isn't American Recordings.   

We are some years inundated with great music albums. Other years are just filled with waiting. Nobody has yet been able to explain the population fluctuations in lemmings and there's no authoritative explanation of the abundance of great music albums in some specific years. It's just a fact of life. For example 1973 was a golden year: David Bowie - Aladdin Sane, Pink Floyd - Dark Side of the Moon, Led Zeppelin - Houses of the Holy, Frank Zappa - Over-Nite Sensation, Elton John - Goodbye Yellow Brick Road, Alice Cooper - Billion Dollar Babies and Muscle of Love, Bruce Springsteen - Greetings from Asbury Park, NJ and Black Sabbath - Sabbath Bloody Sabbath among others. The corresponding year for the "gothic country" genre was 2007: Antic Clay - Hilarious Death Blues, Christian Williams - Built with Bones and Defiant, Strawfoot - Chasing Locusts, O'death - Head Home, Those Poor Bastards - Hellfire Hymns, Slackeye Slim - Texas Whore Pleaser, Sons of Perdition - The Kingdom is on Fire and Vic Chesnutt - North Star Deserter among others. This year was really Annus Mirabilis (an amazing year). However, in my darkest moments I think that the best years have come and gone. A person with a more relaxed attitude towards the genre would probably say that this is a normal feeling that comes with age. But, I do worry. There's a peak in the lemming population every three to five years. Many great lemmings are born every year. The same can not be said for the regrowth in the "gothic country" genre. There are not many new artists and bands that holds a sufficient high quality and stand the test of "authenticity". Hope is the only good god remaining among mankind. Let there be another year like 2007. Let's hope for the best and plan for the worst.

I read an article which contained unexpected research findings. Country songs are less likely to lyrically incorporate negative emotions during difficult social and economic times. People seem to indulge in escapism in hard times. You can read about the findings here (opens in a new window). The research data indicate that country music is countercyclical. However, I happen to be an economist and there are no theoretical reasons against a procyclical relationship. In fact, you would expect a procyclical relationship. The harder the times, the more depressing the lyrics. A shortcoming with the psychological-sociological study is that the symmetry haven't been tested: that is, if good times is likely to bring forth dark and depressing lyrics. I haven't done any research, but I do know for sure that the study is not applicable to the "gothic country" genre. The genre is totally insensitive to business cycles. It's doom and gloom no matter what. You don't need a degree in economics to understand why. The "gothic country" genre is characterized by economic permafrost. Therefore, general economic growth and income growth doesn't reach the capillaries. I'm afraid that the research team will have to go back and start all over again. I believe the model is wrongly specified. The researchers define country music as songs that topped the Billboard magazine country music chart each year. This is not country music. 

There was a time when people looked up to and admired creative ability, especially in music. Not in any devout way, but in a decent and uncontrived way. This have changed. The current view of musicians is "bring in the jesters and clowns". After all, they are artists and shouldn't they entertain us? For free of course. Playing for free creates good opportunities to come out with your music. Yeah, right. But how did this shift in the view of musicians happen and what caused it? Internet is not to blame. It's only the gun and not the man behind it. Internet is fantastic. It makes it easy for everybody to find you, but on the other hand it makes it easy for everybody to find everybody. It creates information glut. Myspace was hailed as an interactive, user-submitted network of friends, personal profiles, blogs, groups, photos, music and videos and a tool to reach out with your music. The life force of Myspace is now draining. There are other examples. Well, what caused the shift? The push back of musicians has economic reasons. The attack came in two waves. First wave was illegal downloading. This led to that people became accustomed not to pay for music. It was nothing more than theft. A musician would run a high risk of being cyber-bullied if he or she tried to claim his or her rights while the politicians stood by and watched. You can read my blog entry here (opens in a new window). Second wave was streaming. Belatedly, people have become accustomed to pay next to nothing for music. I hate streaming intensely. You can read my blog entry here (opens in a new window). These two shock waves led to an especially hard blow for artists that don't sell much. Now they sell even less. However, there are not many musicians in the "gothic country" genre with the goal of becoming stars. There's little, if any, money in the "gothic country" genre. The driving forces for the musicians in the genre are different. You still have to survive. The sarcastic joke "What’s the difference between a musician and a large pizza? A large pizza can support a family” is harsh reality for many struggling musicians. Not many in the genre are full-time musicians. If you can't even afford to make music in your spare time, then I would say that the conditions for music creation fundamentally have changed. Many artists in the genre have been crushed under the wheel of progression. To much work and problems and little or nothing in return. Some artists are so resignated that they don't know what's right or wrong anymore. "Maybe I should play for free or give away my music?" The cynic might object that it's the musicians own fault and it's time to wake up and smell the coffee and to change business model. "Why don't musicians tour instead or sell merchandise on-line?" This argument is too stupid to comment. But maybe the times are a-changing. I think there's a little light in the dark when more and more people recognize the relationship between creative ability and basic economic conditions for musicians. Under all circumstances, I think we all should straighten our backs and follow the late reggae artist Bob Marley: "Get Up Stand Up/Stand Up For Your Rights".           

Music creation isn't the same as music production. The latter part presupposes the former part. For some people music creation is a painful process, while for others inspiration comes naturally and in abundance. Palodine has always written a lot of songs to each album. While music creation is more or less unproblematic, music production is often unpredictable and surrounded by difficulties. It's hard to put out an album even if you have lot of good material. Palodine is a good example of that. Over five years elapsed between the second and the third album. The explanation was brutal structural rationalization in the music industry. Both record labels they were involved with closed down and they didn't have the funds to release the third album themselves. Thanks to a patron they could release "All the Pretty Wolves" in December 2013. Now Palodine are back with their fourth album "High Desert Hymns". According to Palodine: "This record is not as heavy as some of our past work. There is some more delicate, layered songs in the mix this time". Normally, this kind of statement is extremely worrisome. In another context this is an euphemism for not as good as previous work. Many thoughts ran through my head. Have they "matured" and become a husband-and-wife soft duo? It can't really be that bad, can it? Palodine is one of the hardest bands in the gothic americana genre, so how gentle and subdued can it get?  The questions will be answered in the end of this review. The new album "High Desert Hymns" is approximately 45 minutes long and contains ten songs. The album artwork is, like previous albums, designed by Katrina Whitney. According to the press release: "Themes of hypocrisy, enlightenment, violence, spirits, redemption and death still permeate, while short story narratives laden with desert imagery are introduced." You can buy the album in the format of your choice, just click on one of the icons (bottom left). Physical cds will be available through cdbaby.

I will now quickly walk you through the album. The first song is "Holy Roller", which is a disparaging term for spiritual fervor expressed by shouts and violent body movements. The song starts off with lonesome banjo playing, pounding drums and suggestive choir. The lyrics are ironic "Shake the Holy Roller/Shake a little harder". The song has all the typical trademarks of Palodine. There's no sign of "not as heavy as some of our past work" in this song. The second song is "Lay the Crossbow Down". It's not as heavy, but has a distinct rhythmic beat and, last but not least, a very beautiful vocal part that starts 1,55 and ends 2,35 minutes in the song. The third song "The Hunter" is dreamy and naturalistic. The song is built up around the vocals, sparingly orchestrated and ends abrubtly after some guitar playing. It isn't a bad song, but it doesn't reach the same level as other songs on the album. The fourth song "Animal Eyes" is a complex and varied song with many tempo changes or, in other words, songs in the song. It doesn't have the same characteristics as other Palodine songs. The fifth song "Light Above the World" is without any doubt the best song on the album. You immediately realize the greatness of the song. The song unfolds slowly and majestically for four and half minutes. The instrumentation and vocals are exquisite. If there against all odds where such a thing as a hit in the gothic americana genre, this would be it.

The sixth song "High Horse" is the weakest track on the album. It's not a bad song as such. In fact, I like the structure, but I think the rhythm in the refrain is too jerky to fit in the song. Besides, I need to find something to complain about. The four last songs on the album are all very good. And that's really good news. I find it very disappointing when too little effort have been put in to maintain the level of quality throughout an album. I'm very pleased with the completion of this album. The seventh song "Abraham" starts with the familiar sound of vinyl crackle before a slow banjo- and guitardriven accompaniment takes over. The lyrics are predictive: "When Abraham came down the mountain/No one could see it coming". You don't hear concert bells too often in the gothic americana genre, but here is one good opportunity. The eight song "Amargosa" is a slow, elevated and dreamy song with beautiful vocals. The song is perfectly arranged and calibrated. The ninth song "Eagle and the Serpent" is enigmatic, dark and brooding. It's a long song, almost six minutes. It's also a complex and varied song with many tempo changes. The refrain is very evocative. The tenth and last song "High Desert Hymns" is seven and half minutes long. There's a distinct tempo shift after 4,50 minutes in the song. The last song on an album can't be a filler. The last song concludes what the artists want to say with the album. The song "High Desert Hymns" meets these high standards.  

And finally, the overall assessment: The album is set out to be not as heavy as some of their past work. I completely agree with this assessment. The new album is more subdued and definitely more polished. But, the difference shouldn't be exaggerated. This is still hard stuff, only with a slightly lighter touch. My concerns about "not as good as previous work" are unfounded. However, I prefer their harder sound. Palodine knows how to produce an album and the new album is no exception. Their trademark is a full-bodied soundscape with many instruments, care in details and entirety. The new album stands up well in comparison with their previous albums. There's more music from Palodine on its way. A new album will be released in January 2016. They will be back with a harder sound on this album.

If you click on the icons below they will open in a new window, from left to right: Palodine's Facebook page, Palodine's Bandcamp page, Palodine's CD Baby page and press kit for "High Desert Hymns".