Now that I’ve squeezed in my long taper run as well as wandered down to the Ridgeway Festival with HRH for an hour or two, gorged on hamburger and fries and picked up Kelly’s prescription from the drugstore, I have a little time to relax in the cool air of mt basement before needing to go back outside to cut the lawn. Likewise, I have a big day tomorrow at the bike mount line with the SunRype Tr-KiDS so these few off-minutes to relax, read (starting my new ‘Bowie’ autobiography) and listen to some vinyl while the kid catches up on whatever it is she does on her precious iPad, are vital. This afternoon’s vinyl du jour then is the newest album by Kalle Mattson ‘Someday, the Moon Will Be Gold‘.
I first learned of Kalle from a colleague at work; the same guy who turned me onto Chris Wollard, William Elliot Whitmore, John Moreland and Dave Hause. So, yeah, when I found the album cheap on line and instantly took to the cool album cover I decided to take the chance and dropped the $15.oo.
Kalle Mattson hails from Ottawa, but the album was written in Sault Ste. Marie, Ontario where the 22-year-old Mattson originally lived as a child. It was produced by Gavin Gardiner of the Wooden Sky, with guests including Jeremy Fisher and members of Cuff the Duke; you can see why I needed little coaxing. Sadly, the album largely deals with the passing of Mattson’s mother, who died five years ago. Bummer.
But don’t let the deter you, the album is vibrant, poignant and oh-so-beautiful. He’s kind of like the Canadian version of, say, Bruce Springsteen– meets-Kermit the Frog and despite the depressing subject matter, Mattson added that there’s hope in the folk rocking songs. This is best heard in the triumphantly rocking opener ‘An American Dream‘ (not to be confused with the CSNY tune), the horn-heavy ‘The Living and the Dead‘, and the thundering ‘Hurt People Hurt People‘ which – dare I say it – is almost reminiscent of the Cars with the squiggy keyboards. I shit you not. Elsewhere, ‘Eyes Speak‘ has a dramatic structure of rises and falls, and ‘In the Morning Light‘ and ‘Amelie‘ end the album on a quietly restrained note.
It ebbs and flows; you’ll laugh and cry; and it’s worth every second of your time…regardless of how you choose to spend your Saturday afternoon.