Me Moan
Daughn Gibson developed a love of country music while working as a truck driver; his stage name is a pun combining country pioneer Don Gibson and blues-rocker Stevie Ray Vaughn. A physically imposing man with a deep, rich baritone voice, Gibson recorded his second album with guitarists John Baizley (Baroness) and Jim Elkington (Brokeback), supplementing his own synthesizers, loops and samples. The 21st-century rockabilly gallop of the opening \"The Sound of Law\" and first single \"Kissin on the Blacktop\" bring the most energy, but the wistful pedal-steel-driven ballad \"All My Days Off\" is equally effective.
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Daughn Gibson's 2012 album, All Hell, was an intriguing confluence of sampling and songwriting; something akin to Odelay if it was culled entirely from the kind of country cassettes available at truckstops. On Me Moan, Gibson's first proper Sub Pop release*,* Gibson attempts to maintain the immediate draw of his authoritative vocals and perspective.
Daughn Gibson takes his chopped-up country music on a widescreen road trip for his second album, but it’s still his rich baritone that deserves the centre stage.
On debut All Hell, Daughn Gibson triple-filtered country ballads through crackles, loops and warped samples, teasing out an atmospheric production closer to the likes of Vatican Shadow or Demdike Stare than the acts to whom his stage name pays homage (namely 50s/60s cowboy crooner Don Gibson and blues guitarist Stevie Ray Vaughn). Me Moan confidently elaborates upon this already impressive vision, with opener The Sound of Law seizing focus with gritty lyrics (opening line: “my daddy was a beast”) and a colossal, propulsive chorus.
In the hands of a lesser musician, Daughn Gibson's rich and cavernous baritone may have mutated into a Crash Test Dummies-esque gimmick on his underrated debut album, All Hell.
Daughn Gibson is a striking storyteller – if you can decipher his singing, writes <strong>Maddy Costa</strong>