Occasionally music transcends place, born from the essence of a musician and his roots to become something greater almost effortlessly. Matt C. White does that with his debut album wallow in the hollow., available via Burro Borrocho Records. Infused with a Carolina youth, the man who calls Brooklyn home packs a punch with this first effort.
White is a city man who has country oozing from his soul. Embracing Americana that emerges from deep woods country, his authentic connection to the land undoubtedly shaped production choices. He paints a landscape with instrumentation, creating rustic, back-porch ambiance. The simple instrumentation consists of guitar, mandolin, bass, and slide. Vocals are layered with claps and stomps. The occasional studio wizardry digs deep into a bag of tricks to make all this come to life on the record.
Matt C. White is a constant music-making machine, involved in projects from Charles Ellsworth and The C.O.O. to Grandpa Jack to Dead Seconds. After wallowing in the music, it is easy to hear why Alex Saltz was interested in this project. Saltz (Bruce Springsteen, Deer Tick, The Raconteurs) contributes analog mastering, which fits White’s style perfectly.
It’s apparent from the start is that this record has been a lifetime in gestation, as it is lyrically dense and sonically intelligent. Reminiscent of Australian blues musician Ash Grunwald, this is Deer Tick with a twang; strut in the best way. From the dark opener “Lie With Me” and its equally ominous sister “Can’t Get Away,” it almost feels like someone is looking over their shoulder, whistling down the street in the middle of the night. It is brilliant!
Each cut takes listener to a different space, mixing up the pace of the album. White connects people with his emotional reality by utilizing sequencing and pacing; tempo is punctuation, a memo for listeners to perk up and pay attention. “Now And Then” has an over-the-top happy feel that balances the dark of the previous track. Think Disney’s Snow White: the balance of dwarves whistling to keep from thinking about the queen. White lands a suckerpunch on “Year Of Dogs.” The darkly brilliant tune shows off the best vocal performance from White on the record.
Nearly halfway through, “Black Spiral” is a lyrical masterpiece that plumbs the depths of darkness amid an unusual mix that focuses on the background vocals. Resting points are huge, and “Intermission” feels like a special place to rise to the surface. It takes a moment to remember that this a trip into the Carolina woods, and “Have It” is that reminder. Taking a slide into “Don’t Look Over Your Shoulder,” it’s easy to slip back in front of the campfire. Raw, rustic, and real, this is the best of what makes American music great; mixed with restraint and mastered with a light hand, the analog feel is perfect. With heart and soul, grit and guts, this is the track of the record here, no question.
In the home stretch, “Words To Make You Stay” is a melancholy bookend to any Muddy Waters proclamation; the joy at the end of this record comes from feeling the roots of the artist that is Matt C. White. Somehow, the revival is at the river, and “Lost On the Way” proves that there is always a way back to one’s roots. Celebrating that place where he grew up, “Nightsky” is a flashback written by a man in the city; upbeat, with a celebratory vibe, it is also a songwriter looking forward, not back. “Fare Thee Well” is a fond adieu to listeners who wallow in the hollow. with Matt C. White. A flash of a song, does it really count, or is it really a wave that suggests “until we meet again”?
Occasionally a musician releases a debut album that seems effortless, honest, and authentic with a distinct voice as a songwriter and a vivid soundscape. This is that record, oozing inspiration and life experience. Streamers, do yourself a favor: listen to wallow in the hollow. by Matt. C. White vinyl-style, start to finish. Highly recommended.–Lisa Whealy