Black Pudding sounds off as a weary journey back home for a troubadour of alt-country blues.
What jumps out immediately is a raw, stripped back vibe adopted in the production. The most interesting nuances are highlighted by what has been left in, rather than what has been cut out. Surface noise, slight blemishes, and fingers squeaking over guitar strings all serve to provide a warm and genuine feeling.
Instrumentals act as bookends to this record, and the title track opener sets the mood of sad lament that is to become Black Pudding’s central theme both lyrically and tonally.
Minor chords plucked flamenco style on nylon strings are almost akin to Leonard Cohen’s “The Partisan”. It’s a meandering three minutes suffering only from some disjointed key and time changes.
“Pentacostal” brings the country mood, sliding guitars riff over minimal percussion and introduces Lanegan’s signature baritone that is at the same time jagged and without a rough edge.
Garwood serves (almost exclusively) as the solo musician on the album, allowing Lanegan’s lyrical and vocal prowess to shine. Horns, strings, organ and electric piano blend across acoustic guitar tracks, providing subtle variation throughout. “Mescalito” opens with simulated percussion behind a wash of droning sympathetic notes sounding as if from a sitar.
“Death Rides A White Horse” is a gift of a track. The trembling vibrato of the delicate vocal that delivers a tale of heartache, beautifully set above a textured soundscape that is a wonderful reflection of Garwood’s multi-instrumental talents.
This is not a record likely to win over any new fan, but it is proof that when two old dogs strip back to bare essentials, greatness results.
