Dierks bentley returns’ mountain ‘

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Dierks bentley returns’ mountain ‘

You may get used to hear the mainstream national male stars sing praise to the settled in the south of the town life, the mood is flirting on Friday night in this decade and gentleman feeling full of song. Arizona born singer and songwriter Dierks Bentley arena in this environment well, although he provides his own artistic exploration of space, but he still provides a rustic. “I just wanted to make it meaningful to me,” he said in a telephone interview on the way to the rehearsal. “It’s a bit like I want to eat my cake, also want to eat, I want to be a great song, sounds very large, you can listen to on the surface, and like it, but if you’re a fan, you’ll dig,” oh, I understand what he was doing.”

In his upcoming album 9 The Mountain announced later this year and will be launched later this year, he in arid desert and rugged Mountain ridge line, The cactus flower and wind tumbleweed vast terrain in The pursuit of exploration and The theme of self-realization. Although the music has a driving force, the current state of programmed loop and digital capture, but the mandolin, banjo, violin and guitar blue grass texture as well as the west coast of the country rock band shiny harmonic winding sat in the front.

For bentley, the balance of appeal and its own music interest is not a new goal. Those who didn’t pay close attention to his career might be surprised to find that he and Miranda lambert is the only by the international journal of contemporary No ‘original incarnation of one of the contemporary state behavior of the page. . Bentley’s feature makes him a contender for a rising nation, and he is seeking the contributions of American songwriters and bluegrass pickers.

By 2010, the five before produced nearly a dozen radio show, after he was ready at least temporarily to give Up the industry’s promotion running machine, and in asheville, recorded a string music album Up On the Ridge. After that, he returned to the din, this time with a more artistic, unifying theme of the album. 2016 works of black is by far the most complex in design of his works, its loose narrative clue is through romantic tryst and tried, without a thought of, finally forced him to consider the feeling of the outside himself. When bentley toured behind it, he held bluegrass concerts every night and opened the band with a masked band. “We are open for the opening of the opening, he is open for us,” he explained.

The Mountain’s construction, most of which took place in The Colorado ski town of twillyryder, is home to a legendary bluegrass festival, a particularly liberal process. Bentley says NPR talks about it.

What creative space have you had since making black?

One thing that is consistent with these records is that I have no expectations. There is no calculation or plan. There is no meeting about what the next record needs. Usually I say, “I don’t know what I’m writing. I don’t know what the next record will be.” Usually, [my manager] Mary [Hilliard Harrington] gave me a deadline and I found this to be the most helpful for me.

What’s the deadline?

This trip is big business, isn’t it? You know, the tour will start in May. We have open behavior. We queued up a lot. [she said] “if we can get the first single in January, then Dierks will be great.” That makes sense. I mean, when you go out, there’s some new music, right?

Each record needs to be different. It needs to get up on its own. I’m not from the south. I have no record of southern ideas, lifestyle and nostalgia. I don’t have that crutch, and in some ways I might be lucky. I think it forces me to work harder. If it’s a sound, an idea or a song, I need to find something that can inspire me. With this album, a lot of [start] in the bluegrass section of twillard. I played a show there. Sam [bush] and Tim [O ‘brien] and Jerry [Douglas] and [Travelin’] McCourys stood up with me. Kristier got up and stayed with me. This is a great scene.

This was last year.

This is June. “The only thing missing is Del McCoury,” I told the crowd. “I put on a Del McCoury shirt. Then he walked out of the little backstage. It was one of the best times of my life, in a very familiar environment. I’ve been there many times. But there are some things this time. I started thinking about this album, and I’ve been making that movie [only brave, about the Arizona firefighters], and my beard grew. I missed the west.

Since you made the string band Up On the Ridge, you’ve been threatening to make another album. You didn’t do that, but you did do something you never did: leave the commercial national recording center Nashville to record. What is the difference between such landscape changes?

I have an idea for a western album, but I don’t know what that means. Is it going to be a Marty Stewart thing? I like that album [Way Out West]. This is a sound thing? Lyric? A bunch of natural references? Is it Marty Robbins? So I thought, “let’s go to telluride.” There are some things that can get you to the guitar.

You brought your co-authors.

Yes, I’ve been writing a lot of people in town. They are the best. Luke Dick, Natalie Hemby, Jon Nite, Jon Randall, Ross Copperman, Ashley Gorley. They’ve never been there before. It’s amazing. We will write all day, at about 4 o ‘clock, we will meet in the deck of this little house, began to drink some beer, hang out, watch the sunset, see the mountains change color, everyone in play songs. All six of us slept in the house. It was a chance for a group of 30 – and 40-year-olds to pretend to live in a small house in boulder. You think you’re really free. I’ve never done anything like this. When we were there, Ross said, “man, we should come back and record it.” I like, “that would be fun, but right. That will never happen. “And then we did.

Mary found a studio 30 minutes outside the town, where Sam had done some things, and Jewel did something, like an audiobook. My friend [studio engineer] Reid Shippen went out and checked, putting all the equipment in a truck, and he said, “this place is awesome!”

You always talk about “going uphill” when you temporarily leave the mainstream and do something you want to do. How do you try to reconcile the mainstream and the profit?

I say to the musician is: “look around you, look at the mountains, I can’t use language to express it, as long as go hiking, take the cable car, drink a cup of coffee, a walk in the city, enjoy the atmosphere of the place that’s sounds like I need you to make records. “That’s what I think ultimately has this western feeling, I’ve been looking for.

You mentioned matty Robbins. His cowboy folk song is one of the many examples of the western flavor of the country music. But for a long time, small towns in the south have been the choice of country songs. In addition to being a native of Arizona, what is the attraction of accepting these things in the western landscape?

The western concept and the feeling of the mountain, is also mountain climbing. I’ve seen so many people, and everyone you meet has a story to tell. I mean, it’s right in front of you. Everyone climbed up the mountain. Everyone is trying to improve themselves. Everyone is looking for a way to push and find a way to recharge. I think this album is about the western atmosphere, but there is also a mountain metaphor, one in front of the other, and continue to climb.

In the past, you’ve talked about the country music you’ve heard, the George channel and George Jones are adult music. But you’ve built your career when the pendulum swings back to youthful attraction and party voice. A few years ago, you told me that you’re figuring out how to balance the party guy and family roles of characters, and how to noisy, friendly to the stage of material and artistically satisfying things to make room. What are you doing now?

I think the more you can get rid of your mind and make the right things instinctively, the more true it will be. I don’t think about that anymore. I just want to do this work, so when I walk on stage, I can attend this award. I don’t care about demographics or age. I hope this is just good music. At this time of my career, I have nothing to lose. So it’s like “let’s make the best album, let’s get the most out of it.” What’s the worst thing that could happen?

This is not necessarily the way you think about the country music. For some peers, providing consistency seems to be the most important.

I never did. I think of a band like U2, and every album might like it, or you might hate it, but it will be different.

Although at this time of the career you talked about things and not too much about things, but I’ll say you actually have a lot of thinking, or you will be close to the process in different ways.

It’s a combination I’ve never cared about in my career, and I’ve never cared more about it. I don’t care about the success of the album, as I care about it. No regrets. It’s important for me to be completely focused and not miss any ideas.

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