Album Review – Chasen Wayne’s “Strange Places”
#510.1, #563, #590 (Classic Country, Cosmic Country, Underground Country) on the Country DDS
Taking a novel, intriguing, and diverse approach to country music—but one that still nestles squarely in the genre and affirms its roots—Chasen Wayne has released an album that will pull you right in and demand repeat listens from the infectiousness of the tunes, and the unintuitive turns for you to explore and unravel.
The first two songs on the album “Ancient Outlaw Dance” and “Hondo” come with a strong Western musk, with rockabilly/surf inflections in the guitar work that give off a dark and foreboding atmospheric feel. But this is just where the album begins. You’d be a fool to assign a specific sound to Chasen Wayne. Instead he seeks the right sonic palette for the intended mood of each song to compliment the storytelling and cinematic approach.
It’s the Tom Waits-esque piano instrumental “Sober Seymour” that sets up the story of the song “Cocaine Katie.” This is one of multiple moments where an interconnectivity makes this album so interesting. But don’t worry that it will be too involved or obtuse. Songs like “Valley of the Stone” or the final track “No Stranger” work great as just good ol’ country songs that are a hoot to listen to.
By avoiding all the well-worn grooves and ruts that most country albums invariably fall into, Chasen Wayne makes something that’s much more than just an audio distraction for your daily commute. All of this is complimented by a confident delivery by Chasen and his more than capable band called Honky Tonk Machine. They make an album brimming with robust textures.
You could conclude that for certain songs, Chasen Wayne’s vision outpaces the production a little bit. That’s going to happen with an independent, self-released album that’s so ambitious. At the same time, it’s the underground nature of this album that makes it so cool. Chasen calls Austin, Texas home, and Strange Places feels like an Austin album in a good way. That only makes sense since Chasen is on the front lines of the fight to keep the Austin honky tonk scene alive.
Chasen Wayne is known in some circles for being the talent buyer for one of Austin’s newest (and perhaps best) honky tonks—Sagebrush on South Congress. Earlier this year, he arranged for Zach Bryan to record his video for “9 Ball” in the joint with Matthew McConaughey. Later, Bryan shouted out Chasen Wayne as the “last real cowboy in Texas,” or something to that effect. Of course that’s hyperbole, but listening to Chasen’s new album Strange Places, you kind of understand what Zach was getting at.
You can sit back and grumble about all the difficulties and deterioration in the music scene of the “Live Music Capital of the World.” Or you can get busy trying to do something about it. With Strange Places, Chasen Wayne rekindles Austin’s creative spark as a place known for making country music that’s out of the ordinary.
That’s pretty damn “cowboy” if you ask me.
8.1/10
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June 19, 2024 @ 7:13 am
How you find all of these artists baffles me, lol. You really find under the radar artists.
June 19, 2024 @ 7:57 am
Wow, Chasen Wayne, this is one of the greatest albums of 2024!
June 19, 2024 @ 8:07 am
Now we just need this on vinyl….
June 19, 2024 @ 8:11 am
Where does this fall on the decimal system, Kyle?
June 19, 2024 @ 8:26 am
Ah! I forgot. This is a hard one because it’s so diverse, but I chose classic county, cosmic country, and underground country. It has all those influences in there.
June 19, 2024 @ 9:01 am
I find a ton of new music here, Thank You Trig!
June 19, 2024 @ 11:52 am
Out of the ordinary is good description here. That bass line from Ancient Outlaw Dance sounds like it was lifted from a B-52s album lol. Honestly, i’m not sure how I feel about this guy. Like his debut album, I found a few songs on this one that had my toes tapping. Unfortunately, like the debut, this sounds as if it was recorded on a budget that makes it loose some of it’s appeal sound wise.
There are things to like about Wayne’s attempt to be something a bit out of the ordinary, but execution still needs a little work. Someone to keep an eye on.
June 19, 2024 @ 2:06 pm
Isn’t that just a monetary issue though? I love the album and the songwriting and the solos. Not sure I understand your pov. Making music is expensive.
June 19, 2024 @ 4:04 pm
I hear what you’re saying, and kinda thought someone would make a comment like this. I was trying to say that I like the music for the most part. But the production value and rough edges on some things like vocals lessons the overall sound.
I understand recording is expensive and the band is doing their best with what they have available to them. My intention is not to knock the band, but to be honest, and to say I was interested enough to listen, and that I’m interested in seeing how they develop in the future.
Glad you’re enjoying it.
June 19, 2024 @ 4:35 pm
That’s actually a fair criticism or critique and can now see where you were coming from!
June 19, 2024 @ 4:51 pm
As I tried to say in the review, I think what Chasen Wayne is trying to express here is hitting up against a ceiling based upon the resources he’s probably able to call upon as an independent artist. That said, I’m glad that he doesn’t let that limitation hold him back. He still “goes for it,” so to speak. This album isn’t sloppy or bad sounding. But there are some moments that feel lo-fi. In some respects though, it gives it a cool factor compared to projects that are too polished. It’s underground.
June 19, 2024 @ 5:00 pm
Ya’ got me, Trig!
I bought all of the Chase Wayne discs! It’s great! The tune “Cocaine Katy” is fabulous . . . .
June 25, 2024 @ 9:21 am
This album is a grower not a “show er”. Always liked the first track but 3 full spins I’m starting to love em all. Some of the tunes have that lazy 70’s vibe that brings me back. Just not sure where it’ll fit into the rotation, rest assured I’ll be playing it though.