Crossing paths on sessions and tours, bouncing musical ideas around online and joining together for live shows has now reached the obvious conclusion for saxophonist Donny McCaslin and songwriter Ryan Dahle, an impressive duo debut album ‘MXD’ (out via We Are Busy Bodies). McCaslin is perhaps best none as the band leader for his Bowie’s profound Blackstar epitaph, but he has a string of compelling solo albums to his name (last year’s prog-jazz epic ‘Lullaby for the lost’ really shouldn’t be passed over). His buddy Ryan Dahle brings provenance from leading Canadian bands such as Limblifter, Age Of Electric and Mounties and it’s that alt-rock scope which also feeds the ‘MXD’ dynamic.
Henry Takes The 5th busts ‘MXD‘ wide open, a shaft of bright nineties electronic pop-rock beaming with melody and hooks. Prompted by chats with McCaslin’s young son the lyrics have a quirky playfulness about them. Rhymes like “Henry takes the 5th’ / Richard sings the third /in the key of seasick / the picture video blurs” bring a surreal twist to the action while McCaslin’s searing sax dials up the energy. It’s a kick start to an album which never intends to hold back.
Clickbait then confirms the duo’s maximalist pop intentions as it switches without blinking from sweet calypso chiming horns to a chunky riffing pump. With an edgy mid-section, all vocal distortion and free-form sax, plus a Rik Ocasek electro sheen, this is music that is brim-full with ideas. Consequently as you grapple for bearings early on, you wonder whether MXD might get over- crowded but McCaslin and Dahle’s pedigree helps them carefully navigate this thin line. Even the orchestral- scale balladry of Swinging Back To You, all crashing cymbals, zithering synths and tympanic beats, feels authentic.
The quizzical retro-futurist narrative which frames many of McCaslin and Dahle’s songs also reinforces the album’s continuity. The sci-fi ballad Calendar Eaters deals out limericks (“Time is a wrinkle/Calendar eaters/ acting positive/ affecting negative”) to a prog soundtrack of Animal Collective vibrancy. Elsewhere Dark Matter Talk dives further into a Fortean Times world of telescope shops and space invaders set within a lush electro stadium swayer. Despite the boldness of the music you get the feeling that the stories being told on MXB have their feet on the ground. These songs seem to come from everyday places and happenings. So maybe the blender-in-space cover image highlights that intention.
Amongst the constant roll of ideas on the album there are moments of restraint and economy. On Whisper Campaign a tumbling synth riff is the epicentre for some tight pop harmonies while global beats criss-cross with power chords and a Rundgren-esque melody on Magnitudes. Mostly though Sensurround dynamics are where McCaslin and Dahle set their stall on ‘MXB‘, making it an animated offering. You can’t deny the daring of the merger of electro – psychedelia and stomping rock on Astrid or the impact of Minor in Myth’s muscular alt rock pneumatics. This tune literally has it all, the voluminous Steve Lilywhite/Simple Minds drum sound, mathy fretboard figures, dubwise reverb and a massive skronk- powered sax solo.
There’s something of Mars Volta’s audacity about McCaslin Dahle’s ‘MXB’ but cleverly contained in pop leaning parameters. Jazz rock or post-progressive, the album may be difficult to pin down but don’t waste time on figuring it out. Just take the plunge.
Get your copy of ‘MXB‘ by McCaslin Dahle from your local record store or direct from We ASre Busy Bodies HERE
