Last updated: 16 hours ago
As North Americans, McDermott has been experimenting with drone and noise and how it can take shape, and then jettison that shape, since 2013’s No_No, but it’s when he embraced his love of fingerpicked guitar and vintage country music on 2018’s Going Steady that he settled on a sound that felt like a genuine melding of his disparate musical interests. 2020’s Roped In was another creative milestone: with Walker and a host of other collaborators, including harpist Mary Lattimore, and guitarist William Tyler creating a communal, layered approach to each track that felt vital as the world dipped into isolation during a global pandemic. “I knew that for this one I wanted to dial up some of the textures and experimentation,” McDermott says.
In order to do that, Long Cool World, strips away most of the musical collaborators, allowing Walker and McDermott to settle on an approach that is at once intricate and simple, creating hypnotic music that loops and layers, with subtle shimmers of noise or quiet psychedelic freakouts hiding beneath McDermott’s unshowy but emotionally affecting guitarwork and Walker’s pedal steel hum.
In order to do that, Long Cool World, strips away most of the musical collaborators, allowing Walker and McDermott to settle on an approach that is at once intricate and simple, creating hypnotic music that loops and layers, with subtle shimmers of noise or quiet psychedelic freakouts hiding beneath McDermott’s unshowy but emotionally affecting guitarwork and Walker’s pedal steel hum.
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