Tony Reed has certainly kept busy in 2020. In addition to putting out new releases with Big Scenic Nowhere and Mos Generator and unearthing old material with Constance Tomb, he’s also found the time to issue the first proper album under his own name. The second release in Ripple Music’s Blood And Strings series, Funeral Suit is a decidedly stripped-down affair with often minimalist instrumentation and a Folk backdrop. It’s already a well-worn set up with so many musicians trying their hand at it these days, but Reed always finds a way to apply his signature stamp to a given style.
Considering Reed’s prolific resume ranges from Space Rock to Hardcore Punk among others, it isn’t too surprising to see him pull off the unplugged approach. While there isn’t a platform for his Paul Stanley-esque howl, there is a certain weight behind his pleasant timbre that is filled out by extra layered harmonies. His guitar playing is also quite solid, primarily driven by gentle fingerpicking and carrying a mood that feels melancholic but comes with a certain restraint. Comparisons to Jar Of Flies-era Alice In Chains are easy to make, but the debts to Nick Drake are readily apparent.
The songs themselves also come out multi-faceted despite the humble setup. ‘Moonlighting’ and the title track effectively showcase the album’s bleaker side with somber strums and bittersweet vocal lines. ‘Lonely One,’ a reworking of Mos Generator’s ‘Lonely One Kenobi,’ initially feels out of place due to retaining its more riff-oriented structure but ultimately comes through thanks to the extra twang. Elsewhere, the piano dirge on ‘Wicked Willow’ makes me wonder if there could’ve been more of that worked in.
While Funeral Suit could’ve just been yet another entry in the world of Stoner Doom artists going acoustic, it’s ultimately another interesting look at Tony Reed’s deep bag of tricks. It’s a comfortable listen as Reed’s performance adjustments and ear for atmosphere suit the mood well, but there are enough common threads for it to fit right in with his other, often louder projects. As happy as fans would’ve likely been with the Mos Generator unplugged vision that was originally conceived for this album, it’s great to see it amount to more.
7 / 10
CHRIS LATTA