Orville Peck
Pony

THE REVIEW

In this 2019, now drawing to a close, a new figure has emerged forcefully onto the music scene: Orville Peck.

Not much is known about him: born in Canada somewhere between 20 and 40 years ago, he has lived in various places; raised as an actor and dancer, he later played in indie-punk bands and this year debuted with a full-length album.

Indeed, his persona certainly captures attention immediately with that bizarre blend of Zorro and Myss Keta, but fortunately, it is the music, not the cover, that is the most interesting aspect of his debut album.

"Pony," the title of the album released by the glorious Sub Pop, is a term that can have multiple meanings, with its ties to the Far West world and gay culture, and the key to the album lies in integrating the primordial foundations typical of American country with seemingly incongruous external elements.

More specifically, it adopts the style of country, the penchant for languid love ballads, but also for great melodies and epic western prairie themes.

Within his compositions, however, you find the dreamy enchantment of shoegaze, English pop with a new wave origin, and the sepulchral blues accent of the Bad Seeds school, where the characteristic baritone vocal timbre of the masked artist recalls Chris Isaak or Morrissey.

In conclusion, understanding where the character's malice ends in crafting a calculated fantasy and where, conversely, the for real begins is not simple, but this is undoubtedly an album with a striking allure that helps redefine country tradition and would wildly appeal to David Lynch.

Key tracks: "Dead Of Night," "Turn To Hate," "Queen Of The Rodeo."