|It Calls On Me (February 19, 2016)|
Doug Tuttle — It Calls On Me (February 19, 2016)
°¬° Founder of New England garage–psych cult heroes Mmoss steps out on his own after losing his band and his love.
Location: Rochester, New Hampshire ~ New England
Styles: Alternative/Indie Rock, Indie Rock, Neo–Psychedelia
Album release: February 19, 2016
Record Label: Bella Union/Trouble in Mind Records
1 A Place for You 2:26
2 It Calls on Me 2:42
3 Make Good Time 3:04
4 These Times 2:18
5 Painted Eye 3:11
6 Falling to Believe 4:07
7 On Your Way 3:05
8 Saturday/Sunday 6:53
9 Where You Will Go 1:07
RIYL: Neil Young, Kurt Vile, The Bachs, Harumi, CCR, Mayo Thompson, Byrds, Solar Motel Band, Steve Gunn, Gun Outfit, Gene Clark.
°¬° Amanda Bristow Cover Photo
°¬° Ty Heda Photography
°¬° Doug Tuttle Photography
°¬° Douglas Tuttle Composer, Engineer
°¬° Mikey Young Mastering
°¬° Doug Tuttle,
°¬° Justin DeArmitt,
°¬° Jesse Gallagher
°¬° Noah Bond on stage.
°¬° New Hampshire–native Doug Tuttle (ex–MMOSS) presents the follow–up to his acclaimed 2013 solo debut self–titled album with “It Calls On Me.”
°¬° Eschewing the jittery, love–lorn anxiety of his first solo outing, “It Calls On Me” presents a decidedly more dreamy journey through softer, sun–burnt landscapes, while still showcasing Tuttle’s trademark masterful guitar–work and his very own brand of impeccably–crafted, fractured psychedelic pop.
°¬° Written in 2014–2015 in Somerville, MA, “It Calls On Me” hints at the skewed, wide–eyed ‘60s folk–pop of Lazy Smoke or Ithaca’s, mysterious, fulgent Brit–folk rock, and the zoned ‘70s soft–rock of 10cc and Bread, neatly winding in and out through Tuttle’s panoply of hallucinatory effects, buzzes, and unshakeably haunting harmonics to create a richly–textured album of sonic jewels. Opener “A Place for You” is a rumpled, upbeat, almost solely acoustic jam, featuring Tuttle’s winding, sinewy guitar rambles and vocals like well–worn corduroy. Title–track “It Calls On Me” is a tightly–wound propulsive rocker, recalling his debut’s slightly unhinged urgency with a pliant, rubbery, Richard Thompson–esque guitar solo that branches out like plant–growth. “Make Good Time” is a gorgeous, intimately–crafted gem that gently shimmers with Byrdsian 12–string against pastoral vocal harmonies and hazy, mellotron strings and flute.Other key tracks include “Painted Eye,” an epic, disorienting stunner that recalls the blurry stupor of ‘70s West Coast soft rock with a guitar solo needling amidst queasy, bent strings, and “Falling to Believe,” a catchy ear–worm that pairs Tuttle’s soft, hushed vocals with some seriously heat–blistered guitar–work. Most reminiscent of his most trance–inducing work with MMOSS, “On Your Way” is an eerie, stately, almost trad–folk dirge that carries all the pageantry of Fairport Convention, backed by brittle, Fables of the Reconstruction–era R.E.M. guitar jangle amongst a tightly–woven tapestry of voices.
°¬° “It Calls On Me” shows Tuttle relaxing into his role as a memorable, compelling songwriter, eager to showcase his storehouse of harmonies and dissonances, and delighting in the more fragile and intimate aspects of frayed–at–the–edges song– creation. As a result, this record feels more like a blissful letting go rather than a giving in, allowing the flashing sunlight to create patterns across your closed eyelids as you drive a winding road through a forest of trees.
AllMusic Review by Tim Sendra; Score: ****
°¬° After releasing a brilliant debut full of lo–fi psych–pop splendor, Doug Tuttle’s second album, It Calls on Me, delivers more of the same with a few alterations here and there. The former leader of the band Mmoss is less heartbroken this time out, the recording quality jumps from extravagantly lo to very solid mid, and the overall feel of the album is less trippy and more relaxed. It sounds like he’s fallen headfirst into a folk–rock meets country–rock mood, with plenty of gently strummed acoustic guitars, lots of jangling electrics, and vocal harmonies that would make Crosby & Nash, and possibly Stills too, proud. There are still enough fuzzy guitar workouts to keep fans of the first album satisfied and a couple tracks end with fiery jams where Tuttle sounds like he’s thrashing the speakers in his amp to within an inch of their lives. Mostly though, Tuttle seems content to ride the breeze, sweetly crooning and strumming with barely any psychedelic effects getting in the way. It’s almost hard to reconcile the laid–back dude of “Falling to Believe” or “On Your Way” with the bursting–with–energy guy of the first album. Only the guitar solos give it away and then, they are fleeting. It’s less a transformation than Tuttle showing another side of himself that was lurking quietly behind the fuzz and flange on the first album. Anyone who dug the fire and fireworks on that record may be a little let down by the different, stripped–down and almost nakedly honest feel of It Calls on Me, but the overall excellence of the songs should help cushion the blow. With the less busy, more graceful arrangements, the beauty of the melodies comes through a little more clearly and Tuttle’s very fine vocals are allowed more space in the mix. It makes for a more emotionally deep listen, with fewer tricks to distract from the issues at hand. Tuttle had already proven himself a high–level psychedelic wizard; with this album he proves that he’s a singer/songwriter to be reckoned with. °¬° http://www.allmusic.com/
Press: Bailey Sattler — email@example.com
|It Calls On Me (February 19, 2016)|