Orville Peck (from the album Bronco

Orville Peck (from the album Bronco

Orville Peck (from the album Bronco available on Columbia Records) (by Danny McCloskey)
A train-track beat kicks at the shoreline when Orville Peck cruises “Daytona Sand”, balancing surf and beach as he enters Bronco, his latest release. The common ground on any Orville Peck album is the man’s vocals. Orville’s voice control is its own climate change. The forecast is flexible when Orville Peck mounts the title track, hopping on “Bronco” with guitar noodling before the track erupts into a persistent groove propelled by cut and chop chords matched with a solid rhythm section. Country, Rock, and Blue-Eyed Soul are major contenders for the sound of Orville Peck but NooTwang covers each and every note. It’s a grey sky above as the musical accompaniment for “Trample Out the Days” utters random notes and beats before congealing into a set sonic storm that puts a heavy backbeat underneath the tune.
 
A rumbling groove creates a foundation for the confessions of Orville Peck as he spins for story in “The Curse of the Blackened Eye”. As Orville Peck writes a new chapter for Country music, he nods to tradition on Bronco, duetting with Bria Salmena as they match goodbyes in “All I Can Say” while Country Folk picking climbs “Hexie Mountain”, “C’Mon Baby Cry” pumps money into honky tonk Jukebox Gold, and tender notes cradle “Iris Rose” before a horn riff leads the way towards an exit. Orville Peck is the Country music bridge between today and tomorrow, Roots enough to feed the truth addiction of the Americana community, Indie enough to appease us-or-them purists, and still Country as Fuck (credit to Paul Cauthen). A flicker of guitar notes hover above Orville Peck as he travels “Kalahari Down” as a caffeinated beat pushing the mis-stepped rhythms for “Lafayette” while Bronco stays in a Folk mood to tell the tale of “City of Gold” and spits a lyrical speed rap stream to offer directions to “Any Turn”
 
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