Dan Horne (Circles Around The Sun) Echoes Classic Psych Folk Vibe On Vibrant ‘Count The Clouds’ (ALBUM REVIEW)

From the opening strains of Dan Horne’s debut full-length studio effort, Count The Clouds, it’s obvious the L.A.-based musician is entering some uncharted musical territory. 

Eschewing the sprawling improv-laden Grateful Dead-centric jams that Horne’s primary gigs, Grateful Shred and Circles Around The Sun, are best known for, the multi-instrumentalist instead offers up a refreshingly eccentric collection of material that evokes echoes of psychedelic-folk pioneers T. Rex (early era) and Comus while maintaining a distinctly modern vibe. 

Recorded in 2020-2021 at Horne’s Liberty Hair Farm studio in Echo Park, Los Angeles, Count The Clouds kicks off with a dynamic pair of tracks that flow effortlessly from the pop-influenced “Leave The Light On” to the anthemic “Dontcha Know”, which reads like the spawn of a musical union between Jack White and The Flaming Lips

A faithful recreation of The Incredible String Band’s island-tinged “Hedgehog’s Song”, along with Horne’s original companion piece, “Hedgehog’s Dream”, an atmospheric interlude oozing with psychedelia, counts as the album’s standout moment, primarily thanks to Horne’s versatile musical abilities as well as a memorable guest appearance from keyboardist Frank LoCastro (Fruit Bats, Kolumbo).

“Bicycle Rider”, an instrumental Horne composed while making his daily “head-clearing” trek en route to his studio via the L.A. River and Elysian Park, continues the trend of impressive cameos with guest appearances from guitarist Raze Regal (Once & Future Band) and keyboardist Adam MacDougall (Circles Around The Sun) whose contributions (along with some well-timed samples of a barking dog) help deliver a tantalizingly unique sound that would fit right in as the soundtrack to a 1990’s-era video game. 

Horne’s politically charged “Pieces”, which harkens back to a bygone era when world peace was the center point of discussions amongst the global community, nearly falls flat with somewhat banal lyrics and a relatively listless solo, but is ultimately salvaged thanks to some strong vocals from Ny Oh (Harry Styles).

“Hair Farm Blues”, a surf-rock-soaked instrumental originally composed to be played by another act as the Dan Horne Band enters and exits the stage, similar to the way Elvis Presley used “C.C. Rider” to kick off his live affairs, features an appearance from guitarist Clay Finch (Mapache), whose impressive pedal steel work adds a genuine country & western feel. 

Count The Clouds concludes in resounding fashion with “Ode to the Road”, a Dylan-esque travelogue that recounts Horne’s years spent as a touring musician in whimsical fashion and contains some impressive chops from harmonica guru Luke Clebsch.

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