Robert Dallas Gray – The Vallum / M John Henry – Strange Is The Way

Having hooked-up as a low-key instrumental explorer super-duo of sorts in recent years — under the moniker of Whin – the Glasgow-based Martin John Henry (De Rosa, Jewel Scheme, Henry and Fleetwood) and Robert Dallas Gray (Life Without Buildings, Even Sisters) unpack themselves again for near-simultaneously dispensed solo albums via Gargleblast. Whilst both releases feature varying degrees of supportive intermingling from the pair, they plough determinedly divergent furrows.

Following on from 2023’s previous one-man outing, The Rain Room, Dallas Gray’s The Vallum is a sturdy yet subtle step forward, that veers across more accessible and more out-there terrain. Recorded at home using guitars, lap steel, organ, electric piano, domestic field recordings and a miscellany of audio-manipulating appliances, with psychogeographical infusions inspired by a visit to an ancient monastery on the Isle of Bute, this ten-part suite goes deep.

Sonically and philosophically, the connection between Scottish experimental and US post-rock communities — symbolically cemented in the late-‘90s by Mogwai’s transatlantic relationship with David Pajo (Slint, Tortoise, Aerial M, Papa M et al) – feels refortified here amidst Dallas Gray’s own history-minded wanderings.

Consequently, there are languid low-slung nods to Labradford and early Brokeback with fluctuating levels of warmth and foreboding (“Pools”, “A Cold Moon/Misrach” and “Spiral”); traces of Jeff Parker’s skeletal sketching for his relatively recent Forfolks LP (on the title track and “A House Of Dogs”); and immersive-to-barely-there Windy & Carl-meets-Stars Of The Lid drone shaping (“Witch” and “Bridegroom of Snow (After Loren Connors)” and “Lowering (Echo)”).

Whilst occasionally the perimeter-pushing leads to some darkly uncomfortable places — most strikingly via the sinister piercing soundwaves within the aforementioned “Witch” – overall The Vallum is worthy of many repeat visits to soak up its atmospheric allure.

Contrastingly, on the surface at least, Henry’s Strange Is The Way is a much more straightforward singer-songwriter affair, but not one without its own assorted contours.

More ensemble-built — with help from Dallas Gray’s multi-instrumentalist input as well as guest spots from former De Rosa bandmate James Woodside and family members — the long-player shifts a lot of ground around its intense yet inviting core compositions.

Thus, we’re taken with great agility through pedal steel and banjo-edged balminess (“Avenues”); lushly rippling side-glances to James Yorkston (“You Show Me The Ways” and “Northern Strangers”); rousing folk-rock nods to Iron & Wine (“Heart Of Coal”); shimmering shades of Blue Afternoon-to-Happy Sad-era Tim Buckley (“I’ll Watch From Here”); harmony-soaked flashbacks to early-‘70s Crosby & Nash records (“Vessels” and “The Lord Is Here”); starkly intimate piano-and-voice echoes of Alexis Taylor’s Piano LP (“Yet / Agnes”); and a wordless salute to Ben Chasny’s sparsest of Six Organs Of Admittance outings (“Drawing In D”).

High on craftsmanship but never overbearing, Strange Is The Way is a satisfyingly strong statement from the house of Henry.

-Adrian-