REVIEW: SUNDAD - Way Station One

SUNDAD
Way Station One
Sundad Records (2026)

It's the bane of (most) reviewers' existence when we hear a great album that we want to sing praises of but it's nearly impossible to adequately describe, categorize, or write about in any terms other than "I love it!" Which brings me to Sundad's Way Station One.

Sundad are acoustic guitarists John Eurell Sr. and son John Eurell Jr. On Way Station One they are joined by a fantastic assemblage of guest stars, including such luminaries as Michael Manring, Premik Russell Tubbs, Jeff Haynes, Tom Eaton, and others who, while I do not know them as well as the previous ones, give it their all whenever they appear on tracks (see below for who plays what).

First of all, and this may not be as relevant as I suspect it might be, but the title of the album as well as some song titles contain science fiction references, e.g. "Earthling Lies," "Vader," and the title track, which may, or may not, allude to the great 1963 SF book by Clifford Simak, "Way Station." Be forewarned, this music is as far removed from spacemusic as you can get! Second, as in my opening paragraph, I have wrestled with extolling this album's greatness through over ten playings of the recording. After the tenth, I decided, dear reader, to do my best to give you at least a summation of what awaits you here.

Take jazz, swing, blues, folk, western (not country western), Spanish guitar, and even some rock, throw all those genres into the air as individual "cards" and that about sums up the nine songs on Way Station One. In an email to John Eurell Sr., I told him that, at times, some of the songs on his album reminded me of a track from the prog jazz group Babe Ruth's first album, First Base, titled "The Mexican." However, that's just one reference that came to mind. The Spanish/Mexican sound comes through on the slinky/sexy opening track, "Gunslinger" which one might imagine hearing late at night at a cantina with lonely people looking for late-night love. "Earthling Lies" paints an even moodier setting while also upping the tempo a bit. Speaking of tempo, props to the various folks who played drums and percussion because these cats are tight. When they, and the Eurells, start to cook, they are absolutely on the same page! "Voyage 2" swings and sways with a sensual blend of guitars and Tubbs' saxophone and Eaton's Rhodes ups the "riff" ante even more. "Type A" sets the dial to "keep on rockin' " and moves the mood into something more light-hearted and toe-tapping.

All throughout Way Station One, the listener is treated to amazing musicianship, startling versatility, and production standards that are impeccable and inventive. This is not background listening, folks. Well, maybe on a road trip with volume turned way up, but the thing is, there are many moments of subtlety here as well, e.g. Eaton's tasteful piano runs on the title track.

Sundad were last heard from in 2008 (The Journey Continues) of which I wrote "With its jazz riffs, world beat spice, mixture of earthy/sensual and kinetic energizing rhythms, as well as enough guitar fireworks to fulfill any lover of the instrument, the trio’s latest release is almost certain to please acoustic instrumental music fans who seek an album which engages the listener’s body and mind. Kick up your feet, tap your toes, drum your fingers or just sit if that’s your preference, but the main thing to do is put this album in your CD player and enjoy what comes next." Well, it was a long wait, but we now know what has come next and it sure as hell was worth the wait!

ALBUM CREDITS
All songs composed by John Eurell Sr. and John Eurell Jr.
Produced by Tom Eaton
Recorded by Jean-Christophe Santalis and Tom Eaton at Raw Recording Studio, Patterson, NY
Recorded by Tom Eaton at Imaginary Road Studios, Windham, VT
Michael Manring recorded at Funk and Disorderly, Oakland, CA
Additional overdubs recorded at Sounds & Substance, East Kingston, NH
Mixed and Mastered by Tom Eaton at Sounds & Substance

ARTISTS
John Eurell Sr. and John Eurell Jr.: acoustic guitars
Michael Ma
nring: bass
Kendall Buchanan: bass
Premik Russell Tubbs: sax and flute
Jeff Haynes: percussion
Abe Speller: drums
Elijah Duncan: drums
Tom Eaton: bass, Fender Rhodes, keyboards, piano, percussion, lap steel guitar, electric guitar, tambourine, darbuk

WAY OVERDUE REVIEW: ØSTEIN SEVǺG AND LAKKI PATEY - Visual 2

ØYSTEIN SEVǺG AND LAKKI PATEY
Visual 2
Siddartha Spiritual Records (2024)

Way back in 1996, two musicians, Øystein Sevǻg and Lakki Patey, released Visual on the Windham Hill label. Back then, I named it the best ambient album of the year (in Issue 1 of Wind and Wire, the magazine). To this day, I consider it an essential recording in that genre. As a result, I was thrilled (to say the least) when Øystein contacted me in 2024 and informed me that he and Lakki had recorded a sequel, appropriately titled Visual 2. He kindly sent me a copy, and I only wish I had gotten to writing this review much sooner as it’s an excellent follow-up to the original, while also breaking new ground as well.

There is a distinction between the two albums which has a significant impact on not just how the music "sounds," but also the emotional resonance/reaction to the tracks. Visual 2 is a purely acoustic album featuring Sevǻg's piano and Patey's guitar, whereas the first Visual featured abundant use of synthesizers to craft textures and atmospheres underneath the two instruments. When I first listened to Visual 2, I wasn't sure how I felt about this "missing piece," but by the second or third time I played it, I realized I was evaluating this new release from the wrong viewpoint. While there are thematic and melodic elements that the two albums share, the emotional/responsive effects are markedly different, whether intended by the artists or not.

None of the above is even remotely critical of Visual 2. Just the opposite, i.e., Sevǻg and Patey were able to take Visual 2 and create something different yet adhering to the same "formula" of ambient soundscapes which border on (or even define) minimalism, while carving out an entirely different vibe from a purely emotional perspective. Yes, that's a lot of words, but breaking it into something shorter, both Visual albums are beautiful but tinted in a different hue. Where the earlier album presents a haunting, sometimes mysterious collection of pieces (I hesitate to use the word "dark"), Visual 2 hews closer to warmth, a pleasant glow, if you will.

All that aside, what is equally striking is just how talented these two are at crafting this music using only their two instruments. In addition, the variety of pieces within the given compositional framework, means that there is no hint of monotony, and, in fact, the opposite (to my ears, at least). Another aspect I enjoyed about Visual 2 is that there are twenty tracks, ranging from just over a minute to five minutes in duration. This gives the artists the freedom to explore the varieties of tones and moods of the music they make. If I am honest, with some obvious exceptions, I have never been fond of long-form music be it ambient, New Age, or any other genre. I feel the same way about film. If you can't communicate what you intend in two hours (of film) you should reexamine what you are trying to say. That's just my opinion and, as with albums, there are obvious exceptions.

The single overriding aspect of the tracks on Visual 2 is, to be frank, their sheer beauty. I could listen to this album on repeat all day long and never grow weary of it. As with all great ambient music, it works as well in the background as under direct listening, although the latter reveals the artistry of their compositions/performances in a much more direct way.

One last comment I'll make is to state that there are darker-themed compositions present here but they evoke emotional resonances such as loneliness, or recalling memories of moments long-since past, as opposed to Visual's more shadowy and mysterious music.

 In the end, whether I have interpreted the tonal shift in their music correctly or not, Øystein Sevǻg and Lakki Patey have not just renewed the promise of Visual but may have actually surpassed it.

ALBUM CREDITS
All music composed by Øystein Sevǻg and/o Lakki Patey (specified on track list)
Recorded, mixed, and mastered by Østein Sevǻg at Blueberry Fields Studio, Asker, Norway

ARTISTS
Øystein Sevǻg: Grand piano
Lakki Patey: Acoustic guitar

 

REVIEW: LYNN PATRICK - Water Stones

LYNN PATRICK
Water Stones
Dakota Ridge Records (2025) 

The only Lynn Patrick album I have reviewed (prior to Water Stones) was back in 2002 when I praised her release When She Dreams. To say I am pleased to know she is still recording is an understatement. Water Stones is one of those albums that made me smile, even grin like a kid, the first time I played it. There is so much joy in these twelve tracks, most of which are high energy, that I can't believe a person could stay depressed or even sad while listening to it. The music is almost entirely acoustic (electric bass and perhaps some electric guitar, unless my ears are deceiving me with the latter, which is possible) and every guest artist excels at their roles. Patrick, who plays guitar, is happy to share the spotlight with the other players, which I always find admirable. 

While there are other string instruments on the album (violin, upright bass), the majority of the heavy lifting is done by guitars and mandolin. Also present is percussion which adds some "zip" to the faster paced numbers, e.g., "When You Find What You're Looking For" which blends a folk-rock feel with a subtle western vibe. "Breezy Sassafras" ups the tempo even more but here a jazzy mood is more pronounced. The title track slows things down, not to a crawl but more of a pleasant stroll pace. The opening track, "Surfing LuLu" is a perfect introduction to the remaining eleven songs, so if you stream this album and enjoy that song, I highly recommend you either buy the CD or download the album. Trust me on this 

"Homecoming" has a more pronounced country sound, and I mean "authentic" country (to my way of thinking at least), It also swings a bit in a relaxed way. At this point, it's worth noting how much Silas Herman's mandolin adds to the songs on the album. I have not heard this instrument played this much in a long time (referring to album submission, that is). The mandolin brings something special to each song, which I can't articulate but it's present, nonetheless. 

Water Stones is a sheer delight, and I have reached for it more than once while driving on errands. The downsides to listening to it in the car are two-fold. One is that I obviously can't tap my feet to the music, which the melodies and rhythms urge me to do. Two is that this music almost demands a scenic backdrop of a rural nature for me to fully appreciate it. Personally, I could really dig listening to this as Kathryn and I explored some of our favorite areas in Wisconsin, e.g. the Great River Road, or the "Driftless Area," or the lush farmland between Milwaukee and Madison, or the northern coast near the Apostle Islands. Water Stones would be an amazing soundtrack for those trips!

Congrats to Lynn Patrick (and the other players) on making a fantastic album that enlivens my senses, jogs my memory, and injects some happiness and joy in my day whenever I play it, as I imagine it will do for anyone. 

ALBUM CREDITS
All songs composed by Lynn Patrick
Album produced and recorded by Lynn Patrick
Album mastered by Michael Romanowski
Album mixed by Dave Beegle 

ARTISTS
Lynn Patrick: Guitars
Dave Beegle: Lead guitar
Silas Herman: Mandolin
Eric Thorin: Upright and electric bass
Sandra Wong: Violin
Enion Pelton: Guest violin
Christian Teele: Percussion 

 

 

 

 

WAY WAY OVER DUE REVIEW: GERHARD DAUM - Songs Without Words

GERHARD DAUM
Songs Without Words
Tone Work Records (2019)

While Gerhard Daum's Songs Without Words came out in 2019, I never got around to reviewing it here at Wind and Wire and that was an injustice to the artist on my part. This would certainly have placed in my top five releases of that year, In addition, this is one of the most unique guitar-based instrumental albums I have ever heard, and that covers a lot of review submissions. I know an album that the artist himself describes as "…[demonstrating} the electric guitar's eloquence and diversity as a powerful lead instrument in modern times." may not be perceived as all that impressive from those words but trust me. This is as revelatory an album as I have heard in my career. 

The brilliance of Songs Without Words hangs on not just on Daum's manifold guitar talents, but also his more than impressive expertise with orchestral arrangements as backing for these twelve electric guitar pieces. I would often think to myself, "Oooh, this would be the perfect music for a movie scene where…." because so much of the music is immensely visual (if one has an imagination, that is). As it unwinds, the more creative mind might imagine everything from espionage thrillers with drives through majestic landscapes to hard-boiled detective stories to tales of lonely people wandering the streets in search of love in an uncaring city. Granted, my imagination is likely more centered around movies than your average music fan, but that's how this album hit me. On the other hand, if you explore Daum's website, he is best known for scoring films and TV, so the notion that I alone perceive this album to be cinematic in nature would seem to be moronic. This man knows how to compose music set to visuals, obviously. 

I reviewed one of Daum's earlier albums, Rural Renewal, which impressed me, but when I first played Songs Without Words, I found it hard to believe it was the same artist. Not because Rural Renewal wasn't a good album, as it was. But Songs Without Words is a masterpiece in a genre that is, for me, underrepresented in instrumental music, i.e. electric guitar instrumentals. For me, this recording is as groundbreaking and impressive as Craig Chaquico's Acoustic Highway was when it was released. If you have followed music as I have, you remember Chaquico's debut was a massive success, both commercially and critically. 

The first track, “Berlin Song,” hints at what’s to come, with its mournful strings backing a stinging bluesy lead line on top of a slow tempo bass beat. At about one minute, you’ll get a taste of Daum’s mastery of the orchestral strings, deftly making them the centerpiece and then relegated to the background. “Talking Softly” opens, as the title suggests, in a subdued style, while a funky (subtly so) rhythm and low-key strings flow underneath (nice use of keyboard vibraphones here, too). 

Understand that Daum can also cut loose and unfurl one hot lick after another so not every track is an example of restraint, but unlike some guitarists who go out of their way to wave their talent in your face, Daum always has a purpose when he dials the explosiveness to 11. And, on “Timeless,” he veers into a great George Benson-esque blues/jazz vein, backed by a killer percussion beat and sensual strings. “Told You So” is my favorite track with its playful mood, percolating beat, and strings that just can’t help but bring a smile to my face every single time. 

My sincerest apologies to the artist for not reviewing this fantastic album until now, but I simply had to inform folks about how brilliant this recording is. You love electric guitar music? You simply must check this out. 

CREDITS
Music composed, performed, and orchestrated by Gerard Daum
Mixed and mastered at GDME Studios, Berlin
Artwork by MCD
All Midi tracks arranged and recorded by Gerhard Daum