After the Flood, the third solo release from Luke Reynolds, shows that the Guster multi-instrumentalist and singer-songwriter is indeed a jack of all trades. Co-produced by Reynolds and Richard Swift, this new album goes from introspective to explosive in a heartbeat.
Reynolds has long been the master of subtlety and textures, whether it be in the band Blue Merle or on his eclectic Pictures and Sound project. After The Flood takes this trait to an even higher level.
The album opener “A Million Miles Away” starts things off with subdued hooks and reverb, eventually building into a full sonic canvas. “Just A Little Further,” co-written with Jim Lauderdale, mines more familiar yet equally satisfying territory. The song shuffles along like a latter-day J.J. Cale classic, painting the picture of a dusty Memphis road. Reynolds seemingly takes you on a full and satisfying trip in less than 3 minutes.
“Late At Night,” with its laid back rhythms and adventurous slide guitar, reminds you of the best of Daniel Lanois’ solo work. “No Way To Know What’s Coming Round The Bend” features the Yellowbirds, Max Hart, Patrick Hallahan and Brad Bivens in a group effort worthy of standing next Luke Reynolds’ best work. The song, co-written with Sam Cohen, reflects youthful optimism and renewal.
There is no track which truly represents the entire body of work yet I keep coming back to “From The Bottom Looking Up.” Driven primarily by Reynolds’ acoustic guitar with added touches of piano, whistles and what sounds like a French horn, this is a perfect example of rock-folk songwriting, with subtly effective production and economy.
Hard to image this album was recorded on two-inch tape over a five-day period. Perhaps classic do come from vision and craft.
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