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Our
mainstay, our true companion on those road trips
was the music of Jay Farrar.
That voice, those words. His music went to the heart of the heart of the country
we traveled through, and fed our imagination
- Andrew Smith and
Alex Smith, filmmakers of The Slaughter Rule
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| "Jay sired
the alt-country movement with Uncle Tupelo. Since the band's demise, his former
partner, Jeff Tweedy, has fluttered from rock pastiche to off-the-peg post-rock
in Wilco, while Uncle Tupelo's inheritor, Ryan Adams, mixes up a baby-food version
of Americana so delicious, even Elton John enjoys it. Farrar, by contrast, is
incapable of being anything other than himself: darkly introspective, uncommunicative
to the point of insolence. Yet his apparent obtuseness masks a determined drive
towards purity. Farrar's second solo album slashes the dense country-rock of Uncle
Tupelo and his subsequent band, Son Volt, to dinosaur bones of perfectly interlocking
chord progressions, rainbow steel-guitar shapes, snatches of indistinct instrumentals
and wood-smoked vocals. It eschews the pop production concessions of 2001's Sebastopol
for an as-live ambience that enhances the music's otherworldliness. "Cahokian"
is Farrar at his finest: cello and acoustic guitar underscore a description of
the Native American monuments of Missouri and their poetic relationship with the
present. But Terroir Blues still feels beautifully unfinished, as if Farrar is
holding back, afraid of his potential. Also available is the soundtrack to the
film The Slaughter Rule (Bloodshot), with songs by Neko Case, Vic Chenutt and
Uncle Tupelo alongside Farrar's abstract soundscapes." - SUNDAY TIMES, UNITED
KINGDOM, July 2003 | ||||
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