Coustica: A one-man revolution |

Coustica: A one-man revolution

Andrew Harley
Vail Daily/Shane Macomber Wally Furlow joins 19 other acts at the Colorado Grass Roots Festival at State Bridge on Friday, Saturday and Sunday.

Though this revolution will probably not be televised, it’s not due to a lack of passion.Coustica’s recent release, “Days In Seasons,” displays the many talents and perspectives of local guitarist Wally Furlow.A mild-mannered — by day and a self-taught musician with 33 years of experience at heart, Furlow is the man who sings all of the lyrics and plays all of the instruments.”Days In Seasons” feels very circular in form and concept. As the tracks wander through a journey in sonic time, the lyrics strive to achieve an aura of timelessness.Furlow starts off unusually slow, but the spare picking and lone chord build into a lovely, ethereal progression that feels like soft light. As “Dawn” continues, the crooning bass and strolling guitar ebb and flow like relaxed breathing.The opening instrumental transitions easily into “Morning,” which opens with deliberate vocals and lyrics reminiscent of New Monsoon’s lead singer and rhythm guitarist. The tune sets three scenes, ending with:There seems to be less reality

Just uncertainty remainsThe transition from “Morning” into “Midday” is not as smooth as the first transition with good reason. “Midday” is a mellower song set on a somber picking progression and Furlow’s voice, which grows melancholy. However, the lyrics are more sobering than the melodies.Its midday in the forest, with nature all aroundThey’re comin’ in tomorrow, to cut it downThe song goes on to look at the day from the perspective of a village.The vibrato in Furlow’s voice seems to get away him sometimes, but the music picks up in solid, rock-based chords when “Spring” begins.”Spring” is upbeat in pace, tone and theme. Furlow sounds a call for sensual enjoyment.

“Spring” narrows into “Kiss,” which has the most lyrics, but they are sung like city traffic, with stops and starts and a relative abruptness. The chord changes in this tune seem interesting, sound difficult and finally come together for a surprising bridge with gruff words that are sweet in their honesty.The title of the sixth song, “High Noon,” fools the listener as the tune sounds nothing like a traditional Southwestern showdown. It hints back toward “Dawn,” while sounding more awake.”Summer” kicks off the final six tunes with rolling energy.In “Something Wrong,” Furlow tackles the perspectives of greed and poverty in the settings of streets, jungles and a spaceship.The transition between “Something Wrong” and “Look Around” is powerful in its simplicity. The music for “Look Around” has a minor edge, and the topic is obligation.”Bluesman” is serendipitous in the tradition of “Friend of the Devil,” but the lyrics are more general in nature.In “Stare,” Furlow appears to stick with the first person perspective he’s maintained during the previous couple of tunes. “Stare” bears less of a timeless shroud, as Furlow preaches:

I sit and stare out the windowCause I don’t care for TV. Show’sAnd all the fake sincerity that you can bearThe final song on the album, “Night (Morning’s Reprise),” offers comfort in “OUR” intuitive yearnings for the future.”Days In Season” is organized symmetrically like Nick Drake’s “Bryter Layter,” except the pattern is arranged in two six-song sets rather than five-song sets. Instrumentals bookend the four tunes with vocals in each set, with the exception of “Night (Morning’s Reprise).””Days In Seasons” can be purchased at any of Furlow’s live performances, or via an e-mail to Harley can be reached at 949-0555, ext. 610, or at colorado

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