THE CONDUIT – A Disk to Spin:
Ashley MacIsaac’s long-awaited (and self titled) new disk is in American record stores this week, and as ever, the boy is half-beyond-fucking-brilliant. The openly queer fiddler from Cape Breton, known for his genre-breaking talent, and umm – unusual antics/attitude, does not disappoint with this release. The tunes (taken separately) on this disk are every bit as interesting as any of his prior works. It is the maturity of the overall picture he gives us on Ashley MacIsaac, however, that makes this a coming-of-artistic-age for Ashley (at least in terms of his prowess in the studio).
We always knew Ashley was a powerhouse performer/musician without equal in men twice his age. As innovative as his work has been in the past, his ground-breaking and vitally original releases each lacked something: continuity. It’s here on this latest effort, and I think that’s much to the credit of his new label, Decca Records (an imprint at Universal). I think that Decca is the first label that might actually understand and more importantly, appreciate, this guy’s vision. A&M clearly didn’t get him…and I think Loggerhead just didn’t have the resources to help Ashley reach his potential in the studio. Decca VP of A&R Rory Johnston brought in Roger Greenwalt (No Doubt, Nils Lofgren), who developed the disk’s instrumentation and electronic loops himself. Kevin Killen (U2, Peter Gabriel, Elvis Costello) was also enlisted as co-producer and mixer, and he added real drums and bass as well as some atmospheric guitar and keyboards.
Ashley’s characteristic sexually charged fiddle work is heightened here – I often feel like a voyeur listening to him play, much as if watching him work one orgasm after another from the fiddle. Richly enhanced on this disk though, is the fusion of genres that are also a signature from the 28-year old. 
There is of course the traditional Celtic on “Chorus Jig/The King’s Reel,” and the exquisite cover of Wings’ 1977 smash “Mull of Kintyre” (with BRILLIANT guest vocals from Dallas Smith); and there’s the great infusion of electronica/industrial fiddle that we’ve come to expect from Ashley, and that still seems somehow unexpected. What is really fresh on this disk, is the rock influence that informs the through lines of this effort.
Click photo to visit Ashley's Website. (Photo: Ashley-MacIsaac.com)
Checkout the funk backbeat and guitar licks layered underneath the fiddle work on “Grapes” – question is, why the hell hasn’t anyone done this before, as the sound is that good? There’s also “Captain America,” with an Appalachian/bluegrass layer replete with banjo. And, there is something really wrong if tunes like “Save Me From Tomorrow” (with great mandolin work) and “I Don’t Need This” don’t find air play on American country stations.
The surprise on this disk though, is Ashley’s voice. On prior recordings, he sang a line or two here-and-there, mostly doing a sample more than anything else, leaving the full-fledged vocal work to guest performers. On this latest disk though, he lets go on six tracks and the result is a fantastic surprise. His voice is like bourbon, and meets the blues inspired tracks head-on. The dude can belt a serious blues song and do it well. Damn. I am looking forward to more of that voice on future work. (He also plays piano and organ on this disk.)
In short, let’s just say this Ashley’s best work to date. It is not as fiery and angry as 1999’s Helter’s Celtic was, but it is no less passionate. More importantly, it is better focused. All this makes rumors of Ashley’s pending retirement all-the-more disappointing. He seems to just be reaching his stride, and coming to a place where he has a full, sophisticated command of his potential. Why would an artist of his ability walk away now? Doesn’t make sense. Of course, Ashley’s always one for generating as much press as possible. Maybe he just wants to rouse the fans around this new disk, not that we need any rousing as long as he turns out this kind of work.
posted by Joshua @ 3:55 PM
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