Album Review – Dalton Domino’s “Corners”
When certain surrogates for the mainstream of country music assert that “country music needs to evolve,” not only are they misleading the public about the true intentions behind homogenizing music to make it palletable to the widest possible expanse of the masses, which is really a practice more aptly characterized as devolution, they’re also wholesale ignoring the scores of artists over who the last 40 or so years have taken roots music on a true evolutionary path in both the sonic character of the music, and the thematic expanses it has reached.
Often this evolution has come from the edges of bluegrass, such as the newgrass movement that sprung up in the 70’s, or in the ranks of early alt-country artists who looked to expound on the sound and subjects of country in new, enlightening ways. Whether it was John Hartford and Sam Bush taking traditional string music to new universes, Emmylou Harris’s Wrecking Ball album produced by Daniel Laonis known best for his work with U2, or Sturgill Simpson singing about esoteric philosophical theorems in “Turtles All The Way Down,” the proof is all over the place that country music is evolving, it’s just the mainstream is not always paying attention.
Out of the ranks of Texas music artists is not the most expected place to witness the emergence of someone that takes the foundation of country themes and modes, and greatly expands them in a way that is only fair to couch as “evolutionary,” but that is the case for songwriter and performer Dalton Domino. For his sophomore album Corners, he doesn’t slowly try to acclimate you to the idea of going in a different direction, he drops you right into the deep end and tells you to sink or swim.
Lubbock, TX is one of the strongholds of Texas music, and has been for a long time. And though you may not expect this to be the origination point for a progressive movement in country, you can’t be caught off guard by the level of songwriting emerging from that local scene recently. From William Clark Green to Flatland Cavalry, Lubbock is experiencing that same type of healthy competition among songwriters that fosters creativity and raises quality across the board like we’ve been seeing out of Oklahoma in recent years.
Songs are at the foundation of what makes Dalton Domino’s Corners so stunning. Written mostly by Dalton himself amidst a move to sobriety, it captures the moments during a transitional phase in life that go on to define us as people, set the stage for the rest of time, and stick out in memory no matter what else fades away. These periods are when the juices of life are at their most robust, and if you can capture them in song, and do so with honesty and eloquence, the result can be something compelling no matter what genre it falls into.
That is what Domino does in Corners, and maybe best in the title track.
“People like me have to live hell to see heaven is worth it
Take the worst of unanswered questions and try to find purpose
I’m not praying for acceptance, and if forgiveness never comes I’ll understand
But if I die I’m gonna die with me knowing, who I was ain’t who I am”
If any of these songs feel like reaches into the commercial side of Texas country, it is the co-writes, specifically the heartbroken “July” written with Kaitlin Butts, and the classic, working man’s revenge song “16 Years” with contributions from Charlie Stout and Turnpike Troubadour RC Edwards. Though these songs are the most accessible from Corners, this evaluation is not a criticism. This record needed just a little sensibility to it keep it more compelling, and broaden the audience who might be willing to give it a chance.
But what you’re faced with immediately after cueing up Corners is how this is not your conventional country record, and it’s probably not even safe to call it “rock” for the grab-bag connotations that genre carries. Corners is country. Listen to the words, behold the transformative and honest account from the stories, and it’s hard to call it anything else. But Domino uses a much wider sonic palette to clothe these compositions beyond guitar, fiddle, bass, and drums.
If Dalton Domino, or producers Nick Jay and Jay Saldana heard horns, strings, or backup singers on a song, then the expense was splurged on and they were brought to the studio. Yet they resist the idea of just bringing layers upon layers of production to the record solely for their own self-indulgent purposes, at least for the most part. Sometimes the sonic elements to the songs are somewhat hard to place to their instrumental origination. It’s more just beds of noise meant to set the mood of a song to parallel the sentiment. And often this exercise is successful.
Corners gives the listener a lot to digest and explore. This is not a record you listen to a few times and feel you have a grip on. The more you listen, the more is revealed. At the same time, there is an accessibility issue with this project, and some of the songs struggle to keep your attention. There are moments when you wonder if all the extra production is necessary, or if simply Dalton and his guitar or a more straightforward approach would have sufficed.
Corners feels like an important project in country music, and in Texas music specifically. Dalton Domino is bringing influences to the region that are not entirely foreign to roots music, but do feel lost in the viewshed in the otherwise expansive and diverse Texas scene. It also announces Domino has a creative force, both in songwriting and sound, that we may see hints of it in other artists’ music in the coming months and years as they find their own inspirations in this project.
It’s not a masterpiece, but it is a step in the direction of one. It’s not reinventing the wheel, but it is reminiscent of the upgrades country music has made before. It’s a great conversational piece and a refreshing shot out of left field that hopefully people listen to intently and with an open mind, and find the magic of music and message it looks to convey in a forward-thinking manner.
1 3/4 Guns Up (8/10)
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Ryan
May 2, 2017 @ 6:54 pm
Reminds me of Dawes unconventional approach with their latest effort. It’s new and different, while still influenced by authentic roots.
Corncaster
May 2, 2017 @ 7:08 pm
cosmic country
needed another verse or instrumental solo
I’m hearing the note of repentance and/or acceptance more in male singers lately
shastacatfish
May 2, 2017 @ 10:02 pm
That is interesting regarding the theme of repentance/acceptance you bring up. What other examples can you think of?
Corncaster
May 3, 2017 @ 5:39 am
Stapleton, Church, McAnally…
Jack Williams
May 3, 2017 @ 8:22 am
It’s back from 2012, but Chris Knight’s Out Of This Hole comes to mind.
Corncaster
May 3, 2017 @ 12:33 pm
David Nail, “Let It Rain”
Kross
May 2, 2017 @ 7:31 pm
Great album, another contender for album of the year. If July could make it to commercial radio, it would be a hit.
jimsouls
May 2, 2017 @ 7:58 pm
Excellent review/analysis. I can hear why you think this might be an important project in country music. Heads-up appreciated. Off to do some record shopping 🙂
Robert St
May 2, 2017 @ 8:03 pm
I haven’t had the chance to really dig into this album yet, but I did hear a radio interview recently with Dalton Domino, where he talked about moving around a bunch of places – Memphis, Biloxi, Birmingham, and on and on- definitely brings a little different perspective to the table.
Scott S.
May 2, 2017 @ 8:15 pm
This is not a record you listen to a few times and feel you have a grip on.
I picked this up this morning and on the initial listen It wasn’t quite what I expected. I’m eager to give it a few more listens though to see if I come around to it.
Thanks for the review.
kapam
May 2, 2017 @ 10:40 pm
Thank you Trigger. It looks like you have totally picked my tastes in Country once again! I’m only able to judge by the sample track “Corners”, but I am sure liking it!
For mine, this sounds a little like the work of Joey Kneiser on his album “The Wildness”. Not at all sure if SCM has mentioned Joey Kneiser before, but he’s another fringe artist (meaning he is not a “Nashville machine” product to the best of my knowledge) whose music I have been really digging. But so far, from listening to “Corners”, I am hooked and need to listen to more of Dalton Domino!
Trigger
May 2, 2017 @ 11:21 pm
I’ve never done an full blown feature on Joey Kneiser, but he has been mentioned here previously, and I’ve also covered Glossary in passing. A little outside the target area for Saving Country Music, but certain good music and part of the extended family.
kapam
May 2, 2017 @ 11:27 pm
The similarity to Joey Kneiser may only be over this song – and possibly from my own listening bias. But the comparison was not meant as anything but praise! I am definitely going out after more of Dalton Domino’s work after hearing “Corners”. It is a beautiful track.
albert
May 3, 2017 @ 8:57 am
Damn …this is just downright captivating and RIGHT on all counts. Honesty and conviction in the lyric and the performance …a .totally supportive arrangement sublimely pushing the musical production envelope in order for us to FEEL but not overtly HEAR it and a clean mix allowing the vocals to rise above , as they should ..particularly in something this sincere . This is the kind of subtle ‘sophistication’ available to us from many, many artists but conspicuous in its mainstream absence , unfortunately . Its tried to reach us a few times (‘ So You Don’T Have To Love Me Anymore ‘-Alan Jackson …..’This Is Me You’re Talking To’ – Trisha Yearwood ….’Record Year’- Church )….all GREAT writes…but some given less than their due , to the listener’s loss .
Your reflections above are spot on , Trigger ….THIS is how the genre evolves WITHOUT sacrificing the elements necessary to its survival as a unique art-form .
Dogit
May 3, 2017 @ 9:19 am
Sounds like Randy Rogers singing with rock music behind him….I’m having hard time getting warmed up.
RG
May 4, 2017 @ 5:54 pm
I get that a little bit too.
Spoony
May 3, 2017 @ 10:42 am
I got this album the day it came out (had pre-ordered) and I haven’t gotten into it yet. Maybe I need to give it more spins. Much like the last album I bought, Jason Eady’s latest, it sort of bores me. I vastly prefer the previous albums from both artists—so far. The opening track, while it sounds kind of cool, seems like it would’ve been better as the last track, it takes a minute for anything to happen. The second track gets right into it and is the Dalton Domino I know. I can’t believe nobody (much less the review) has mentioned Ingram’s presence!
Hayley
May 3, 2017 @ 5:00 pm
I was a Dalton fan before, but damn. This album sets quite a precedent for any and all who follow, that’s for sure. Production is innovative without sacrificing what can only be described as top notch writing… Kudos to everyone who worked on this project!!!
Christian H
May 3, 2017 @ 9:59 pm
Vocals, lyrics, and melody are all excellent, but I’m having trouble with the drum sound and rhythm. Sounds like a drum machine to me.
kapam
May 4, 2017 @ 6:52 pm
I have a few suspicions about that too! As a drummer (strictly amateur) myself, real drums and cymbals are important to me – drums should be played, not programmed. However I am willing to forget this in favour of the intelligent lyrics and song craft, this one time. I bought the entire album from I-Tunes just last night.
Christian H
May 4, 2017 @ 9:39 pm
How is it? Is the whole album using electronic drums? I can rarely get past the percussion sounds; I have also played drums off and on for about 30 years and electronic drum sounds are a bit of an issue for my stubborn ears.
kapam
May 4, 2017 @ 10:13 pm
Yeah, maybe a few digital/synthetic sounds hear and there, but I think there’s some real drums carrying the songs most of the way through. Don’t want to scare you off the album, because I love it.
bwh
May 5, 2017 @ 12:49 pm
Half the songs are decidedly a drum machine. It’s pretty damn sad.
There is one GREAT track on the album (rain) and the rest are either middling or downright awful. Some of them you can’t get more than 15 seconds in to because they’ve got a weird EDM feel.