ALBUMS: METAMODERN SOUNDS IN COUNTRY MUSIC

it took me a Real long time to understand the hype behind sturgill simpson. for years now, i’ve given him a true, honest go every three or four months or so— almost forcing myself to try to like his music— and i just didn’t get it. i had friends who would non-stop RECOMMEND him. they talked him up like he was the second coming of christ— and for some reason, i couldn’t get into the sound. however, i was always fascinated by the man behind the music. i knew about his talent, there was no doubt there. there is something notable about a guy who wins the best country music album of the year at the grammys, but then goes on to busk outside the country music awards one week later, uninvited, with his grammy in hand. it didn’t matter that he was playing for the aclu, or that he had some fierce political views that i didn’t quite agree with— but understanding his plan from the very start of his music career: setting out to record 5 cohesive albums that would be told through a western, christian narrative— not cowering to a record label, or demands from fans— THAT is the reason i admired the guy.

i wanted to like it— and then one day, listening to metamodern sounds in country music (an homage to the ray charles album) it finally clicked. i was sleeping on a storyteller who told some of the most authentic experiences through music— and it all started with this album.