The change is not only in terms of sound. Conor Lynch has until now worked almost entirely solo, playing a variety of instruments, recording and producing himself. But Slow Country sees a turn away from this practice in favour of a newfound spirit of collaboration. Hence a line-up of guest musicians which features Ryan McDonald (pedal steel, saxophone, aux perc, accordion, mandolin, backing vocals, drums), Kaysen Chown (fiddle/violin), Joey Fortino (drums), Edie McKenna (backing vocals), Reuben Stump (upright bass), Danny Keyes (trombone), Jacob Ward (clarinet), Byran Valentijn Hall (flute) and Sam Smith (trumpet). Couple in the fact recording sessions were spaced months apart and a new dimension of Lynch’s work makes itself apparent. A newly attentive style which forgoes the creative rush in order for something unhurried and considered.

Though it is the album’s closer and the title track which encapsulates the spirit of Slow Country. “Ain’t it funny, ain’t it strange / I’ve been waiting my whole life to feel this way,” Lynch sings over the leisurely arrangement. “Now I can rest my head for days / and the willow trees keep me cool in the shade.” The prominence of pedal steel shows itself, a signature of the album, winding out towards the listener as though to welcome them into the landscape it evokes

don’t know how long i can stay
‘least a minute lasts an hour in this place

something cold touches my face
in the slow country i’ll die and feel no pain

The song comes complete with a video, filmed and colored by Will Spurrier, featuring the abandoned Fisher Body Plant in Detroit. Watch below:

Slow Country is out on the 29th March via Devil Town Tapes and you can pre-order it from the Conor Lynch Bandcamp page.

The post Conor Lynch – Slow Country appeared first on Various Small Flames.

To be released next week on Devil Town Tapes, his latest full-length record, Fake, builds upon what came before and continues to break new ground. The folk leanings of the previous albums are dialled back, but only so as to open a heavier sound palette and wider spectrum of influences. Elements of indie rock, electronic pop and country can be found across the songs, as well as a Pinback-esque emo spirit too. What results is Conor Lynch’s most adventurous and accomplished record to date.

Lead single ‘King of It’ stands as proof. Taking the Pinback influence and directing it towards self-deprecation, the song faces up to the endless string of calamities we call life with something like a grin. With a laid-back lilt and catchy refrain, it’s easy to see the track as Lynch finding a wry kind of peace in accepting the bad luck blues, though the frantic final seconds reinject a certain anxiety into the mood, and let ambiguity reign.

Days are billboards
Side of the road
And I’m driving
With my eyes closed

This is my pile of shit
But I’m still the king of it
Standing on top of it
Looking down at the valley below

Check out the video below, with visuals compiled and edited by Doug Dulgarian (of They Are Gutting a Body of Water):

Fake is out via Devil Town Tapes on the 26th February and you can pre-order it now via the Conor Lynch Bandcamp page.

Photo by Alyssa Strasser

The post Conor Lynch – King of It appeared first on Various Small Flames.