| Carried to Dust
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US LP pressing. 'Carried To Dust' is the sixth studio album from Joey Burnsand John Convertino's Calexico. Recorded at Wavelab Studiosin Tuscon, Arizona with long time collaborator Craig Schumacher, the album sees Calexico successfully bring together the rock orientated elements of their 2006 album 'Garden Ruin'with the classic Mexican inspired border town Americana that graced their early albums. 'Carried To Dust' also featuresguest spots from the likes of Iron and Wine's Sam Beam, Canadian singer Pieta Brown and Amparanoia's Amparo Sanchez.It's probable that many still think of Tucson, Arizona's Calexico as an indie-rock band dabbling in the fields of country and mariachi music, but so skilfully played and richly textured is Carried to Dust, the sixth album from Joey Burns and John Convertino's long-running collective, that it feels churlish to think of them as anything less than the real deal. Uniting players including Iron and Wine's Sam Beam, Tortoise's Doug McCombs, Spanish singer-guitarist Amparo Sanchez and Iowa songwriter Pieta Brown, Carried to Dust forsakes the rockier, somewhat conventional tones of previous album Garden Ruin, harking back instead to 2003's career high watermark Feast of Wire. While diverse in genre, crucially it doesn't feel so, Calexico lassoing myriad styles and making them their own. So whether drifting the plains in true mariachi style (“Insparacion"), playing serene, lap-steel country (“Hole in Your Hand (Bend in the Road)"), or whipping up a political storm on “Victor Jara's Hand"--tribute to an activist unjustly killed by the Chilean state police in the '70s––Carried to Dust feels both adventurous and comfortable on whatever turf it chooses to walk. ––Louis Pattison
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By Kevin L. Nenstiel (Kearney, Nebraska)
From the fertile cross-cultural soil of the American Southwest, John Convertino and Joey Burns have grown this smart, understated symphony, possibly their best album yet. Fifteen tracks, including three instrumentals, one Spanish-language song, and unbilled appearances by Sam Beam (of Iron & Wine) and Pieta Brown (Greg's daughter). It carries you like a river, and deposits you cleansed at the far end.
Though this album does little to surprise Calexico fans, the sound seems more spare and muscular than it has in the past. Most tracks have six to eight musicians and intricate arrangements, but Calexico's appropriation of Latino, rockabilly, and indie rock sound austere, like something heard from a great distance. I can't help remember all the prophets and artists who felt most at home in the desert.
The lyrics shuffle across images like a hungry kitten, not something to understand so much as to experience. Ironic juxtapositions and abstract images yield up their secrets only when you listen enough to spot patterns. "Cell phone trees" and "fractured air" resonate more with poets like Emily Dickinson and Wallace Stevens than conventional songwriters. Think of it as a singalong for smart people.
And the music dances across genres, from Sun Records blues to hot jazz jams to border ballads. This band refuses to be pinned down, outmaneuvering every attempt to fit them into easy categories. Sadly, this is probably what keeps them from the mainstream success they so richly deserve, but for listeners who prefer edginess to polish, authenticity to panache, this album feeds a need that pop artists overlook.
Time and again, I wonder why so few artists make music that challenges me, makes me think, and urges me to be a better, brighter person. I pull out my hair in frustration. Then, just as I prepare to give up hope, an album like this one jumps out and reminds me that true artists still cut albums full of vision and heart. Calexico redeems my hope in human art.
By The Hometown Zero (Fairfield, CA United States)
I made the mistake of judging Calexico on their Garden Ruin album which to me was dull and except for a few tunes like Roka, Lucky Dime and Nom de Plume, completely forgettable. But boredom and a trip to the library prompted me to give Carried to Dust a listen. Wow. I am buying this cd immediately! I wanted to hit repeat after every single track. Calexico blends a number of musical influences superbly on this cd- from latin sounds to country/blues to moody folk alternative vibes. It's the alternative feel that holds me as latin or country by themselves just don't do it for me. Normally I can pick a few favorites tunes to recommend but that's particularly tough here. I guess I'd say check out Victor Jara's Hands and Two Silver Trees if you want a good snapshot of what to expect on the album, but as to best cuts, it's a toss up! All I can say is if you're hungry for some killer tunes, BUY THIS ALBUM! You'll find an audio feast here!
By Karil Hurst
This CD is a beautiful, moving, and sometimes haunting compilation of music. I highly recommend it and have purchased several copies to share as gifts.
By Greg Kinne (midwest)
Calexico returns with their strongest effort since "The Black Light." Joey Burns and John Convertino have recruited the same players from that album and the new record is a pleasure to hear. Exploring musical genres on both sides of the border has always been one of Calexico's strengths. On the album opener, "Victor Jara's Hands" mariachi horns accompany the tribute to the fallen Chilean activist.
Calexico also explores different elements of sound throughout the album. "House of Valparaiso" features Iron & Wine's Sam Beam singing backup in a Tex-Mex ballad. "Slowness" crosses the border to deliver a country duet. Mystery plays a key part to several of these tracks including, "Bend To The Road". "El Gatillo" sounds like it could be an Ennio Morricone outtake from some forgotten western. Considering the album's length, there is much to admire here from hushed pop songs to lush instrumentals. Bravo, Calexico!
By Stephen M. Vakil (Madison, WI United States)
I have been digesting this album for some time, and it has yet to diminish its stature in my eyes. It is by far my favorite album of 2008. As a fan of Calexico, I have always followed and enjoyed their work. Nothing prepared me for this. The mood of the southwest is pervasive, but does not overpower a set of songs strong from start to finish. Previous work had struggled with this issue - mood and style vs substance. This album has both. It may seem to have an identity crisis at times as it roams from style to style, but the current is always in the same direction. You never lose sight of the band, which happened at times with Garden Ruin. But you also don't get lost in a conversation you can't understand, as happens in Feast of Wire. It's simply the most mature, enjoyable thing they've produced. It's got everything you loved about In The Reins, Feast of Wire, and Garden Ruin, and it blends it all together to reveal unexpected pleasures. I was hooked the moment I heard Slowness and it was over after that. A mountain of delight. That slowness has indeed never gone away.
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