“full of soulful narrative” - Yahoo Music
“bursts with emotion at every edge and makes for some interestingly original music.” – Magnet Magazine
“The band’s intensity, its ability to tap into spooky Old Testament terror as well as pastoral Verde River amble, is what sets it apart from the ever-crowded indie folk populace.” – Phoenix New Times
“Raw and romantic” – DeliRadio
“Masterful and filled with energy” - LA Music Blog
“dusty, moody, lonely, and super atmospheric” – San Francisco Bay Guardian
“Straight from the heart.” – PopMatters
“Patsy is an album that defines it’s own space and time.” – Rust Magazine
“Arizona’s decker. exceeds both lyrically and musically with their adventurous sound that is not quite definable – and that’s a good thing. Forget the desert and landscapes of their home state, decker. truly captures something imaginative that goes beyond geography.” – Glide Magazine
“The rootsy rambler ‘ODB’, off the group’s upcoming record Patsy, has just enough swing to make you ‘just dance / If you caught up in the holy ghost trance’.” – The Bluegrass Situation
“Unusual kaleidoscopic compositions. The more we spin this one the better it gets.” – BabySue
“they have continued to evolve organically into a desert force unto themselves, and the proof is in this album.” - Java Magazine
“From start to finish, decker’s very distinct sound feels tailor-made for a Coen Bros. Western. Dark, atmospheric and uncomfortably honest, this type of balladry is a rarity among modern folk offerings.” - Indie-Music.com
“his music; which is as romantic, dramatic, intense, primitive and harrowing as a birth in a kitchen in Arizona…Broken Belts, Broken Bones creates its own furrow somewhere between Bruce Springsteen’s Nebraska and Gillian Welch’s Time (The Revelator) with mandolins, sparse accompaniment, narcotic tempos and stray harmonies.” - Performer Magazine
“I feel that decker. does for folk what The White Stripes did for delta-blues…it’s an excellent modernization of a genre.” - Ampkicker.com
“Cryptic and tinged with darkness, Slider is a desert gospel masterpiece and our winner for Album of the Year.” – Yab Yum Music & Arts
“Decker crafts dramatic, emotionally enveloping songs rendered all the more raw and powerful because they are acoustic-based.” – Dallas Morning News
“Decker has managed to encompass typical folklore story-arcs and blend them with a nostalgic sound that is reminiscent of 90’s guitar rock, modernised and reinvented to the point whereby they sound both unique and familiar; a rare combination. ” – Indie Music Reviewer Magazine
“Decker has rendered something raw and unforgettable, allowing what often begins as a simple acoustic foundation to explode into something bigger with the added diversity of both solos and duets. Eventually Slider gets under your skin and stays there; moody, melodic and mesmerizing.” – Liquid[Hip]
“While decker.’s sound covers more than a few bases, their lyrics are on a more straightforward track. Decker begs for honesty throughout the album, completely unashamed (and rightfully so).” – The Grateful Web
“it seems decker. can’t be stopped” - College Times
“They seamlessly take the melodies, harmonies and song structures of classic folk music and inject it with the sounds of vintage Haight-Ashbury psychedelia” – Echo Cloud
“the lasting impression of this CD is some of the most soul-baring songwriting you will ever hear” – Kudos AZ
“He’s tattooed, mustached, and sincere.” - Flagstaff Live
“When people ask what kind of music I play…I don’t really know what to say. All I can really say is that the desert is integral to my sound.”
So says Brandon Decker. Since 2009, the Sedona, AZ based songwriter has written, produced and released a trove of mesmerizing music; an expansive palette of folk, gospel, rock and psychedelia recorded under the nom de plume decker.
“Tailor-made for a Coen Brothers western,” as one reviewer put it, “the music is dark, atmospheric and uncomfortably honest.”
While hard to pigeonhole, there’s a purposeful duality to decker.’s work; it’s sparse while full. Also: intense, romantic, cryptic and raw.
All those characteristics and more are readily apparent on Patsy, decker.’s latest release and follow-up to 2013’s much-hailed “desert gospel masterpiece” Slider. Recorded at WaveLab Recording Studio (Neko Case, Iron & Wine, DeVotchKa) in Tucson, Patsy veers from quiet shuffles to noisy guitar jams and horn-driven ballads, but never becomes quixotic or difficult.
It’s hypnotic stuff. And a huge leap forward for the singer.
“You’re always evolving,” he explains. “If we’re not evolving, something is wrong.”
Recorded with a bevy of Tucson-based musicians, the cohesion on Patsy comes first and foremost lyrically. “I knew the album was going to be called Patsy the moment I realized I had to make another album,” says Decker. “I had written a few new songs after swearing I would not make an album this year, and in the midst of writing we got this opportunity to work with Craig at WaveLab. From there it all came together quite quickly. All the songs come from a similar spot.”
On Patsy, that similar spot is Decker examining the plight of the everyman. “It’s exploring our innate weaknesses; how our lives are reactive and how we grapple with the inevitability living has to offer.”
While he declares the record is in no way a political statement, but rather an exploration of humanness, the singer touches on socio-economic constructs and political failings. On the title track—an initially pretty acoustic number that veers dynamic and dark—he invokes the image of Lee Harvey Oswald. “Never better over there/never better anywhere” he laments, as the song builds to a repeated refrain of “they shot me down.”
From an eerie melancholy opening to a foot-stomping midsection and through an extended guitar freakout, the album’s nine-minute musical tour de force “Cellars” actually sums up the album’s theme most succinctly. It’s bitter, but defiant. “I’m not dead but I’m still crawling,” Decker sings. “The walls were made for falling down. I’m not mad but I’m still calling the man who made me shut my mouth.”
As for the duality: the album is bookended (save for a quick intro) by “ODB” and “Ol Dirty Revival,” two themed tracks that lean gospel revival over psychedelic guitar folk. Musical outliers here, in a way similar to Dylan’s “Positively 4th Street,” they fit Decker’s vision of people betrayed by the outer, unknown dwellers of their social, artistic and professional circles. (And yes, the singer was vibing a certain late Wu-Tang rapper.)
Decker plans to tour extensively after Patsy’s release with a full national tour planned for March and April 2015. A popular live act, he and his band have shared the stage with the likes of The Local Natives, Dr. Dog, Deer Tick and Keller Williams.
“I have a bit of a blue collar work ethic when it comes to this,” says the singer, who’s performed over 600 shows in the last five years. He laughs. “Maybe there’s a bit of ‘suffering for my art’ and the working man’s plight somewhere in there as well.”
He ends that thought on a more serious note. “But you do this — the album, the touring, the fraying of relationships and health — because you have to do it. This is my life. My legacy. There’s no alternative to that. You have to go after your vision and make it work. As all of us do.”