Review- M.Dunton: Self Titled
If you know a cool, hip, avid music listener or polymath and you suddenly popped over unannounced for a beer, M. Dunton’s self-titled album is most likely what will be playing through their speakers when you walk in. Dazzling and beautifully poignant, M. Dunton delivers a compelling cinematic, therapeutic soundscape that comes alive and then disappears like a thief in the night. Although nothing lasts forever, this eight song album is so insanely good that you hang onto every note, wishing upon a star that it would. M. Dunton is the consummate companion for those searching for an escape after a long week, providing the perfect backdrop as you sip champagne and soak in a hot bubble bath.
Dunton is a Nashville-based indie-folk artist who has made a name for himself around the Nashville scene as a session and touring guitarist. He has played lead guitar for Sam Outlaw, Paul McDonald, and others. His M. Dunton self-titled record is set for release this Friday, March 8th via Violet Wolf Productions. Aside from Philippe Bronchtein’s ambient pedal steel, Dunton and Aaron Shafer-Haiss recorded the entire album themselves at Vacationland Sound in Nashville.
M. Dunton reminds me of my former Pacific Northwest self, who can easily conjure up imagery of my friends and I, being whisked away by a delightfully exquisite performance of Dunton, at either the Crocodile, the Paramount, or even the Tractor Tavern, perhaps opening up for the likes of Ben Harper, Typhoon or Vampire Weekend. We’d have to go back to early 2000’s Ryan Adams, just after he left Whiskeytown, to find a more fitting direct comparison of Dunton’s deliciously mellow, easy going vibe. He combines moody Americana textures, catchy melodies, and heartfelt personal stories. His self-titled full-length debut showcases a budding songwriting talent able to traverse both upbeat earworms and luscious ballads while staying true to his voice.
From what I can gather across several Instagram posts and the interwebs, during a single summer in New York, Dunton was able to meet Conor Farrell of Violet Wolf Productions who took a liking to Dunton’s album, loving it so much that he signed Dunton to his label. Dunton was also fortunate to link up with the incredibly talented Noah Hornik, creative director of IIIXL Studio who ended up designing the album artwork not only on M. Dunton’s full length album, but also of all of his singles; Dunton says the artwork “strengthens the emotions of the album.” The artwork isn’t quite Hipgnosis sexy, but it’s dang close. I found his collection of album artwork so captivatingly appealing that I would absolutely hang any of the album covers on any of my walls. My favorite happens to be the cover art for “Hotel Lobby.”
There is a story of serendipity: good luck in making unexpected and fortunate discoveries lurking in the creation of this album and even this review. I am a huge fan of the movie Popstar: Never Stop Never Stopping which is the basis of Conor Farrell’s Instagram handle, Conorforeal. After Farrell reached out to me and M. Dunton was able to turn my ear, I just had to put a few words down. Not long before that fateful summer, Dunton met Aaron Schafer-Haiss who also took a liking to Dunton and formed a kismet sort of relationship. With their musical prowess combined, they somehow found a way to pull a rabbit out of a hat with the creation of M. Dunton which serves up heaping spoonfuls of mesmerizing dreamscapes that will dance across your ears.
Lots of hard work and care went into the creation of this album which contains countless intricate light and airy flourishes that overflow into a rich vibrant tapestry that simply shines. Staying just long enough to get you hooked and wanting more. Perhaps, it’s just good manners, being careful not to overstay one's welcome. I found it surprising that despite Dunton being a popular lead guitarist, there was an incredible amount of restraint and care not to overdo it. A great example of this is on the opening song “Dark Deeds” Dunton starts off alone and bare with only his acoustic guitar and voice to fend for themselves. His fingers are governed at a precise cadence that builds up anticipation and builds up into a sort of anthemic Spanish-like guitar flair reminding me a little bit of Willie Nelson’s Teatro.
If you are looking to discover something new, something cool and possibly crestfallen, skip right over to “Blue.” It starts off with this old school Oasis sound then corrects course into a nice vibrant and chill, head-bobbing delight. For such a sad lullaby, it sure makes me smile.
“Simple Country Songs” has an interesting galloping stride that cascades into a more upbeat frolicking affair. “...you take the highs / I’ll take the lows…” Well, it's all highs and you get a small glimpse behind the curtain as Dunton’s guitar playing towards the end remind me of chimes, as if they are signaling or serving as an omen that the song and the album are almost over.
“I Left My Heart Out West,” is the crown jewel amongst many brilliant gems with Dunton mentioning that “If you’ve ever felt guilty for following your heart,” “I Left My Heart Out West” is for you. This is a song about not being content with the way things are, no matter how wonderful they may be: facing the turmoil of not being where you want to be in life, hearing a nonstop distant whisper calling on you to be more than you are, what you could be, what you are put on this earth to be.
I am sure this lyric speaks to many of us, ”...I know that home will never be waiting on this dead-end street…”
An exceptional song is great no matter who plays it or how it's being played. Dunton posted a stripped down unplugged version of “I Left My Heart Out West” that rivals the full instrumental version and just may need a finish line photo to decide which is better. Dunton wears his heart on his sleeve as he effortlessly conveys the pain and feelings while facing the decision to leave home, his girlfriend and mustering up the strength and courage to chase down a dream. The pain of being gutted while he reminisces about all he left behind while taking the plunge.
“Bozeman Girl,” “I Left My Heart Out West,” “Waiting On” and “Hotel Lobby” are the brightest stars on the album, bringing along with them unexpected earwatering melodies of experiences and emotions that dance within your heart.
M. Dunton doles out sprinkles of Americana, woven into luscious broad strokes of spectacular Indie-folk painted swatches of fabric; rich in texture, sound and, of course, the guitar playing is impeccable. If you don’t know any cool, hip, avid music listeners, perhaps someone will stop over unexpectedly for a beer and hear M. Dunton playing through your speakers.
Find out more about M. Denton at the links below:
