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M. Lockwood Porter sings the song of the ex-Oklahoman

July 17, 2013

judahgone

I’ve been listening to M. Lockwood Porter‘s bands since 2005. In that time, he’s been in an early 2000s emo band, an energetic post-rock band that held my personal “favorite band ever” title for a good five years, and a San Fran indie-pop band. Now he’s stepping out on his own with a solo record called Judah’s Gone. And although it’s been almost a decade since he’s lived in Oklahoma, the record is largely about that place which Lockwood and I share as a home state.

Neither of us live there anymore, but apparently an Oklahoma flag hangs in the background of both our minds. The three highlight tracks from the record (“Judah’s Gone,” “Now My Time Has Come,” and “Osage County”) all reference the state specifically and neatly lay out the narrative of the album. Opener “Judah’s Gone” tells the story of Lockwood’s childhood and parentage in the state (spoiler: it doesn’t go so well), which leads to him fleeing the state as soon as he graduated high school (“Now My Time Has Come”). A bunch of relationships and regrets occur in his forays on both coasts (all the other songs on the record), before he looks back longingly at Oklahoma in a complicated, attached sort of way (“Osage County”). It’s the story of many, many Oklahomans, this one included. If there’s an ex-pat Oklahoman Facebook group somewhere, Lockwood should be promoting this there. It would sell like dry-rub chicken barbecue.

The fact that Judah’s Gone sounds largely like a lost Neil Young record would help the sales pitch as well. The arrangements are twangy, but in that laid-back, Southern sort of way that Neil Young virtually patented. Lockwood’s voice breaks and bends over notes (a la Neil), but largely stays in a recognizably “correct” range. Porter is a lot less nasally than Young, which is also great. The album only has one rockish tune: the fast-paced “Tonight,” which barely gets over 2:00. Porter puts some distortion on his voice for the tune, and it fits nicely. It’s nowhere near an art-rock tune from his previous ventures, but you can tell that Porter has a rock background. Otherwise, this is a folky alt-country record the whole way.

The few quibbles that could be lobbed at the record have to do with this being his debut in the genre: tunes like “Darkside” and “Higher Home” fit perfectly into the proscribed narratives of what folky alt-country should sound like, both in sound and word. The tunes sound fine, but they don’t show off Porter’s skills as a storyteller or melodist very well because of their adherence to tried-and-true formulas. Porter shows on tracks like “Stephen” (not about me) that he can bend the formulas to his skill set: the track is a mid-tempo song about the guy with vast promise who never left home. The tune is memorable because of the melodic chorus and the detailed care with which the lyrics are composed. So even if some tracks are a bit less shiny than the rest, it’s not something that a few more albums of songwriting can’t polish up.

M. Lockwood Porter has established himself as a talent to watch on Judah’s Gone. Tracks like the title track and “Osage County” show a melodic and lyrical talent with range and depth. It will be interesting to see where Porter goes from here as he gets familiar with the genre. I’ll be listening attentively to whatever it is. (Especially if there’s more Oklahoma angst.)

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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