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Bill Callahan’s new leaf

Austin resident and veteran singer-songwriter Bill Callahan's new record "Dream River" is warm and inviting, which begs the question: What happened to the old Bill Callahan?
by Matt Carney Modified: September 25, 2013 at 4:53 pm •  Published: September 25, 2013

The 1990s were amply stocked with distant, standoffish musicians, the kind of people you’d admire from afar for fear that they might verbally undress you (or worse, ignore you altogether) just for offering a compliment. Steve Albini set the template in the ‘80s and ex-Pavement leader Stephen Malkmus carried the torch of aloofness awhile. But among these figures, Bill Callahan was distinctly distant. He rarely granted interviews and on the occasion he did it wasn’t uncommon for him to subject the interviewer to the terror of an extended post-question silence. There is no quiet so awful.

Over the years, Callahan’s recording techniques grew more sophisticated, his singing and guitar playing each improved dramatically, his voice dropped an octave, he eventually ditched the alias Smog (under which he released 13 LPs between 1990 and 2005), moved from Chicago to Austin and now, with his new record “Dream River,” the fifth under his own name, he appears to have lightened up. This isn’t to say that he’s dispensed with his signature wry humor or slow, low-sung tempos. Rather, “Dream River” sounds like 47-year-old Callahan’s decided he doesn’t want to be alone for the rest of his life.

Affixing hope to human connection may have been a cruel joke coming from a past Callahan, but now it’s as real and sincere as his supple baritone. “Dream River,” I think, approaches a depth of soul and warmth and humanity and vulnerability in his work that reminds me of Thom Yorke’s on Radiohead’s “In Rainbows,” and that few artists ever broach in their whole careers.

Understatement has always been the chief feature of Callahan’s songwriting, but the narratives on “Dream River” seem even more specific and lucid than its immediate predecessor, 2011’s “Apocalypse.” It could be because he’s put down critiques of phony American-ness (“America!”) and questions of freedom in favor of writing little scenes and symbols of intimacy. These are where Callahan is at his most poignant and powerful, and there are about four instances in “Dream River” where he subtly blows off your socks.

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by Matt Carney
Online Editor
Matt Carney is the night editor of and a 2011 graduate of the University of Oklahoma Gaylord College of Journalism and Mass Communication. He was born in Tulsa, lives in Oklahoma City and misses QuikTrip every day.
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