Kyle Park has been quietly building a solid fanbase since 2005, when the Austin native released his debut album ‘Big Time’ independently. Since then he has released four studio albums and two EPs, touring regularly and finding success on the Texas charts. Now, his fifth full-length record looks to outgrow his Texas Red Dirt roots and lean more heavily on the rock side of things – without sacrificing the country he got his start in. Truthfully Kyle has been listening to both country and rock for most of his life, so ‘The Blue Roof Sessions’ is not too much of a departure, but for some more traditional fans it is enough to feel the boundaries he’s pushing.
In fact, this record was recorded far more organically than some of his previous ones. It got its name because Kyle decided to forgo the standard recording studio to go make the album in a blue-roofed house on the shore of Lake Travis, just outside of Austin. Kyle has noted that he did that to get more of a big, open feeling, and that’s certainly the result. The dozen songs here are spacious and atmospheric, with pounding, reverberating drums, growling guitars and light, airy vocals, indeed pushing the album into stadium rock territory. The likes of ‘One of These Days’, ‘Never Slow Down’, and the synth-infused 80s track ‘Rock Me Tonite’ are speaker blasters and will invoke a party atmosphere that is rife with singing along. ‘Drive You’, too, opens with fast-paced belter of a drum beat and distorted electric guitar, and it’s quickly clear that Kyle has been inspired by the mainstream rock, metal and southern rock of thirty years ago when it came to making this record.
But never fear country fans, because he doesn’t abandon the twang completely. Lead single ‘What Goes Around Comes Around’ has delicious slide guitar and pedal steel, with a mid-tempo rock ‘n’ roll lite style that will be familiar for many steeped in Texas roots. The likes of ‘Work On Love’, too, have distinctly country narratives, with the aforementioned reminding a hard-working man that he has to work on his marriage as much as he does putting food on the table. ‘I Lose You Win’, meanwhile, has a typical modern country sound (equal parts electric guitars and twang) as it highlights relationship conflict, and the same can be said for ‘I See Red’, which – like Taylor Swift – namechecks all the red things he associates with a break-up. ‘Last Word’ continues the theme by confronting a pending break-up head on, as he bids to have the last word.
The only thing that I can’t quite get on board with for this record is how the production often overwhelms Kyle’s vocals. His kind of voice, with a tenor range and light tone, don’t often lend themselves to heavy, chaotic arrangements, and while Eric Church can pull it off I’m not sure it works for Kyle. He shines the brightest on the more stripped-back material rather than the pedal-to-the-metal affairs, and songs like opener ‘Come On’, although rocked up in places, don’t have too much going on, instead choosing to focus on the melody (that one is particularly catchy). While it’s true that this record feels big and spacious, it fills the speakers and drowns Kyle at times, and I think it’s a shame given that he’s clearly a talented musician and vocalist. The songs themselves, too, become less important than the guitar riffs, and that’s disappointing considering that Kyle is also a gifted songwriter.
It’s a good record, don’t get me wrong. Great for driving, great for having a good time to, and it will no doubt go down well live. I also support Kyle’s bravery and willingness to push the boat out and explore new musical ideas, so as not to get stuck in a rut. I just think that this could be better, and I hope that on his next record he re-aligns the focus.
Originally posted here.
