Run Downhill

Swinging saloon doors, blood on the floor, revolvers and card games gone bad… This is Run Downhill’s west, a place where a thrillingly lawless musical landscape à la Ennio Morricone can intersect with lyrical foreboding. This, the band’s fourth album, takes listeners into a darker world that asks: what happens to a mind subjected to constant skirmishes for survival?

The album opens with one of its two singles, Fever, a piece with the pleasing, chug-chug rhythmic insistence of a locomotive, and indie style that recalls early R.E.M. The track starts with a train whistle, suggesting forward movement into a western world. Composer and accomplished percussionist T.J. Troy (also Run Downhill’s chief visionary, and author of all words and music) sings:
You set my blood on fire
and you set my heart aflame.

(https://www.youtube.com/watch?v=LclrZ5TWSxg)

Yet what seems to speak glibly of love soon blurs as the words turn to a Calvinistic sermon (“Born of sword and fire! Glean my righteous truth!”), and begins to reveal obsession, perhaps a loosened grip on reality and the edge of insanity. And therein, bullets promise to fly.
That promise is fulfilled through the album’s visual element: Troy’s latest comic book, which was created as a pairing to the music. Also set in the old west and expressively illustrated by Chris McFann, it spotlights a beautiful woman who commits violent murders over love, then blithely reflects on them. The album enhances the comic’s story without retelling it, like a soundtrack to a film.

Bright sounds pair with shadowy moods as the album progresses to another standout track, Money. An upbeat anthem employing sinister lyrics (“With your right hand ’round my throat, and your left runnin’ through my pocketbook”), the song conjures both Creedence Clearwater Revival and The Grateful Dead (which, similarly, drew on Americana and classic country for its unique folk sound). In Run Downhill’s case, visions of hard land and the cruel hearts that live there inspire a western fantasy, but that fantasy isn’t far from today’s life. Modern urban denizens, fighting to make a living in an increasingly expensive world of shameless survivors, may find themselves relating to Run Downhill’s characters’ struggles.

The record is “indie-country,” a fusion that brings to mind what Phish did for the neo-hippie movement. Its country element seems ironic; its version of Americana is filtered through a cinematic, rather than a historical, lens. And there is magical realism here, too, as the music is played through vastly pedigreed bluegrass and country performers (Nate LaPointe on pedal steel and steel-string, Ken Lasaine on baritone guitar, Adam Levy on bass and Tom Moose on steel-string).
In the end, while the album is easily listenable, it is its poetry that sets Run Downhill apart. Its lyrics can stand alone, telling a story whose country may be an imagined place, but whose landscape, in the end, could be the American consciousness.

The album and comic book can be purchased directly through the bands’ website. Run Downhill will perform live, with comic video projections, on November 11 at Comic Bug in Manhattan Beach (1807 Manhattan Beach Blvd., Manhattan Beach, CA 90266, 310-372-6704).

Jamie Kiffel-Alcheh is a writer and editor for multiple publications including National Geographic KIDS, CarleyK.com and Smashd.co. She is also a lyricist who has written for pop songs, ad campaigns and major motion pictures. She spent nearly a decade as Features and Entertainment Editor at Woman’s World magazine. - FolkWorks Magazine

Comic books are an interesting medium. They leave so much to the imagination, letting the reader fill in the blanks, the action between the panels. Comics are what Marshall McLuhan called a "hot medium," requiring a lot of work and participation from the audience, as opposed to the more passive "cool medium" of TV. And while comics are more popular than ever, thanks to the never-ending cycle of superhero movies, some readers who've never had the pleasure of losing themselves in sequential art.

On Spurs #2.2, Grammy-Award winning artist T. J. Troy explores a fascinating concept: the immersive comic book. I haven't had the pleasure of reading the comic (although I'd like to), but judging from the accompanying soundtrack, Midnight Road Trip, it sounds like an existential Western road trip to hell and back, like one of Jim Jarmusch's road trip movies to the SoCal desert of the second season of True Detective.

Troy describes Spurs as "Johnny Cash meets Tortoise," which for those who don't know, means mean-spirited, down-and-out, amphetamine-driven authentic country western twang shot through with many threads of the 20th century underground - from the doomy Western soundtracks of Ennio Morricone to the loopy minimalism of Steve Reich and Philip Glass.

While it might sound like a weird, hot mess on the page, it certainly doesn't sound it when you listen to it! Midnight Road Trip sounds mostly like a classic country record with Troy's deep, rich baritone (not to mention the sweet, sweet baritone guitar, which you don't hear enough of). Album opener "Fever" is a wonderful example, with its stuttering staccato palm-muted guitar, like a steam locomotive running over some uneven track, which is further augmented by Troy's chilling, keening vocals. Your hair will stand on end, as you peer through the steam and let the narrative take hold.

"It's All About The Money" turns down the artifice to sound like some lost, great Springsteen outtake, which might be the soundtrack for a small mining town dancing to a Wurlitzer, blowing off some steam on a Friday night. A great soundtrack needs to balance the atmospherics with straight action, so "It's All About The Money" could be the dance scene montage.

The moodiness comes back with "Kickin' It", one of the most heartfelt and emotive ballads which stands well on its own, even if you never pick up the pages or care a lick about soundtracks. There's truly something for everybody who loves artistic country/western music.

Fans of the True Detective soundtracks, the Handsome Family, the haunted gothic country coming out of Denver and, of course, Johnny Cash and Tortoise, will flip out for this one! Excellent songwriting, masterful musicianship, exquisite production, and an interesting concept. If only every indie release could be this good! - The Even Ground

Run Downhill: Spurs #2.2 brings us another successful outing from writer/musician T.J. Troy (who won a Grammy award this past year for Best Classical Compendium with his group Partch). (You can read my review of issue #1 here.) Like that first issue, Spurs #2.2 has two components, a comic written by Troy and drawn by Chris McFann and an EP of original music from Troy and recorded by his band, the L.A.-based Run Downhill. Also like the first issue, the music and comic blend perfectly to create greater than the sum of their parts.
Starting off with a particularly powerful epigraph, the book then launches into Chapters 7, “Fever,” and 8, “It’s All About the Money,” of the continuing saga. Like issue #1, issue #2.2 is serialized in a very Warren Ellis-esque manner, with each chapter giving a different view of the effect of the McAllister railroad company on the small, wild west town of Kilbourn. It’s been a while since I read the first issue and this new one doesn’t do a very good job of reminding us what came before. I assume the constable we see in Chapter 7 is the replacement of the late sheriff from issue one. That being said, though, issue #2.2 continues the fascinating and evocative look at Kilbourn. Chapter 7 deals with said constable visiting a murder suspect and Chapter 8 shows a fight that breaks out in the local bar. All in all, this book shows us the beginning of a revolution against the oppressive railroad company that thinks they run the town and that is something I’m excited to see.
The art is a step up from issue #1. McFann delivers pencils that are at the same time atmospheric and minimalist. His use of paneling is also excellent as the panels shrink and become more claustrophobic during more intense scenes and grow during more explosive scenes, namely when the constable connects with something from beyond in chapter 7. The coloring and inking also serve to further the book. Chapter 7, the quieter and more provocative of the two, is bathed in a dark blue while McFann tends toward a livelier red during the fight scene in Chapter 8. He’s also great at conveying motion, giving his work a very kinetic feel. The cover also deserves special mention, as it’s co-drawn by McFann and the incredible Clayton Crain (Venom/Carnage, Ghost Rider).
The other component of the project, the EP, Midnight Road Trip, is every bit as great as the comic. Composed by Troy, it features him on lead vocals, drums, guitar and piano with Nate LaPointe on backup vocals, guitar and pedal steel guitar, Ken Lasaine on baritone guitar, Adam Levy on bass and backup vocals and Tom Moose on guitar and backup vocals with special guests Yvette Holzarth on violin and Brian Walsh on clarinet. The album is decidedly country (don’t worry, it’s good country!) and relies just enough on traditional styles while forging its own path. Troy’s distinctive baritone voice leaps to the forefront, delivering a fantastic vocal performance. The others’ work isn’t shabby either; they’re all incredible musicians (I happen to know many of them personally) and they all deserve recognition for their fine work on this album (special shout out to Walsh’s clarinet solo on “I Beg Your Pardon.” My only complaint with the melding of these two mediums is the timing; the accompanying tracks for Chapters 7 and 8 lasted about twice as long as it took me to read the chapters.
Altogether, Run Downhill: Spurs #2.2 is another fine success under T.J. Troy’s belt. Although I’m still not sure why it’s numbered #2.2 (what happened to #2 and #2.1?), it’s both a highly entertaining read and listen. - The Graphic Landscape

When I take on a review, it’s because I’m wondering if I should read/see/experience the thing that is being reviewed. It’s the way I roll. I’m assuming if you’re reading this, you either are a friend of mine, or you’re wondering if you should read this comic (Spurs #2.2, in case you’re wondering). There is a limited third category of reader: the creator, seeking feedback on his or her piece of work.
Anywho. About 1 year ago (Seriously – one year ago.), I reviewed this comic/CD combination called Spurs. I loved it. It was this thing that was like Twin Peaks and Merle Haggert, a little bit funked up, and a little confusing . . . nd it was good.

I never looked back. A year passed. I had moved on and assumed the artists did, as well.

And then, my editor asked for a review of the next one. I’m not going to lie – the biggest criticism I have of #2.2 (Why not #2? Dunno – just go with it and think of England.) is that it has been one year! Putting the two back together was a challenge. And, upon reviewing #1, which was complicated and awesome and weird, I had to basically reread the whole thing just to get back into it. I’m not lying when I say I resented this.

But.

#2.2 is good. So is the accompanying music. The music is evolved. It’s Crash Test Dummies and Foo Fighters and Toad the Wet Sprocket in a blender. Blended mostly with slow base and a country twang. It’s nice. It matches the comic, and the idea that the two should be drunk together, like a gin and tonic, is correct.

But.

It takes work. I can recommend #2.2 wholeheartedly – so long as you’ve got #1 nearby. The stories meld and transform and mess you up a little. They range from fun/funny to straight horrific and they leave gaps. Big gaps. And, you need to catch up. If you’ve got #1, you need #2.2. If you don’t have #1, you’re lost without it.

The comic is good. The story is rougher, sharper, and “bleedier.” More gritty. The art is better, and there are a couple of panels I’d want in poster form (specifically her eyes. HER EYES!). So, nice work. Hurry up on the next one, because #3.3 in October 2016 is asking a lot – but you know I’ll read it anyway. - Fanboy Comics

These are curious and confusing times for artists. On one hand, it's harder than ever to get noticed for your album, book or movie, while on the other it has never been easier for an independent artist to get their work out there and possibly gain world recognition.

Spurs #1 is the most ambitious project to date from Los Angeles-based indie-country ensemble Run Downhill, conceived as a soundtrack for a graphic novel. This is a novel approach to say the least to frame these five excellent period pieces.

Spurs #1 is like a soundtrack for the Joads from The Grapes Of Wrath as rustic dustbowl puritanism ("Unbreakable Man") gives way to the spacious Mojave Desert spiritualism of "Prelude" (although "Prelude" comes first. Perhaps they're leaving California.) Even without having read the comic, I'd say that Spurs #1, both the words and the music would appeal to fans of Sergio Leone's classic Clint Eastwood spaghetti Westerns as well as their Morricone soundtracks.

Of course, the whole concept breaks down if either the music or the graphic novel isn’t any good but that is not the case with Spurs #1. The album is lavishly realized with clean and clear production capturing strong performances and songwriting. There's a veritable country orchestra present with signature pedal steel guitar, as well as violins, banjos, mandolins, harmonica, honky-tonk piano and a choir of cowboy angels. The mood is of a slow country burn for fans of Lee Hazelwood, Mazzy Star, The Handsome Family or The Everybodyfields.

Like The Handsome Family whose song "Far From Any Road" was used as the theme song for the backwoods psychodrama True Detective, Spurs #1 seems to hint at the waking reality of salt flats and saloon towns evaporating like a heat mirage, revealing a land of chaos and confusion, perhaps mining a similar psychic territory to Cormac McCarthy's Border Trilogy. Spurs #1 seems more like McCarthy than True Detective, however, as this EP stays rooted in the Earth, making me think of some family melodrama like Dallas, as well as cowboys and gull wing doors.

The cross-promotion in this instance worked. I will undoubtedly run down a copy of the 48-page first issue of Run Downhill's graphic novel and play these rapturous country waltzes as I skim the panels. You'd be advised to do the same.

A+ for ambition!

by J. Simpson - The Even Ground

Run Downhill: Spurs #1 demonstrates what happens when creative people embark on creative projects. This comic is not just a comic, you see. Writer T.J. Troy happens to be an excellent country/Americana musician as well. The book comes with a CD of music from Troy’s band, coincidentally named Run Downhill. One can experience the two components separately or together by listening to the CD while reading the book or by watching the music videos (available here—although a special bonus track is only available with the physical book). Either way, the effect is one that transcends any one medium.
The book itself paints the picture of the small town of Kilbourn during the advent of America’s railroad system. The story isn’t necessarily about any one character; rather, it’s the narrative of the entire town as it goes through some major changes. The book is broken up into four chapters. The first deals with two miners who discover something they shouldn’t have; the second tells of the aftermath of the murder of the son of a railroad kingpin; the third and fourth convey the story of a mysterious servant boy. Each chapter paints a picture of the darkness hanging over this town. The whole book feels like it’s pushing toward something big and something bad. We never spend enough time with any one character to really become attached to them. The effect of that, however, is that we become attached to the town as a whole. We may not shed a tear over the death of a certain important character in the chapter two, but we’re left to wonder how the town will fare without said character. The last page is also particularly noteworthy for its cleverness. As a whole, this book leaves me itching to read Issue #2.
The art, done by Quinn Salazar, often conveys the darkness and tension of the story. Many of the splash pages are done excellently and the characters’ faces can be very expressive. The beginning of chapters one and two show off Salazar’s uniquely noir-esque style. Other times, however, Salazar’s work becomes cartoony. Figures are sometimes drawn inhumanly and details previously present will vanish. For example, there are a couple pages in chapter one when the backgrounds altogether disappear without warning, leaving just the figures talking against solid white. Salazar’s, inking, too, can leave much to be desired. At times, it works with the script to create the perfect atmosphere but at other times, it becomes splotchy and inconsistent, leaving small white marks and looking unfinished. The book is mostly in black and white except on two occasions; in chapter one, when the two miners stumble upon their discovery; and in chapter four, when the servant boy is shown a beautifully verdant garden, in a moment reminiscent of both The Giver and The Secret Garden. Those well-executed choices lent themselves to the enigmatic, almost mystical feeling of the town.
The original music, performed by drummer/singer/guitarist Troy, violinist/mandolinist/guitarist Tom Moose, pedal steel guitarist/guitarist Nate LaPointe, bassist Colin Burgess and guest artists David Johnson on harmonica, Jodie Landau on vocals and Ken Lasaine on baritone guitar expertly goes with Troy’s vision of a Western town. A mix of cowboy and country, the highlights of the album include Troy’s deep vocals, Moose’s mandolin and violin lines and LaPointe and Lasaine’s guitar work. The band sounds like a modern-day mix of Hank Williams and Johnny Cash with the rich harmonies of any great barbershop quartet or a capella group. As good as the music is, though, it oftentimes doesn’t match the darkness or feeling of dread that the comic has. There are moments when they match up perfectly, like the beginning of chapter two and the end of chapter four. That being said, however, Troy does an excellent job of using the music in conjunction with the book to create something that has never been done before. It’s a truly new and exciting idea, one that I hope continues in the future. - The Graphic Landscape

Here’s a new one: a graphic novel/CD combination! I jumped at the chance to write this (these two) reviews of Spurs #1, so here goes.
Part 1 (of 3) – The Graphic Novel

Two words: Grit tee. Yep. Gritty. I find there is a continuum of innuendo and implication in media these days. Using movies as an example, Hansel and Gretel: Witch Hunters is at the “super simple” side of the spectrum, while some artsy movie of a guy climbing a ladder into the kingdom of Heaven as some kind of allegory (all in black and white, of course) would be at the other. Spurs is leaning towards the ladder to Heaven movie . . . I read it three times – not because I had to, but because I knew I would get a different understanding each time. So, don’t buy this book for your seven year old. It’s PERFECT for 18-20 year olds taking classes on film noir and philosophy.

What you need to know: it’s a Western. It’s got a supernatural side to it (ish), and it’s all about survival stories (and non-survival stories). It doesn’t end, so I imagine there is (a lot) to go . . . and I do intend to buy/read the rest as they come out. TJ Troy is the writer (and singer/drummer) in the band, and he writes the way a musician does: it’s not what the characters say, so much as what they don’t say. Listen to most songs (poetry to music), and he takes this style in the comic.

Anyway, the comic is about a small farming community about to undergo huge change, because a railroad is coming to down, connecting them to the world. The Railroad “Family” has some conflict in the town, and things start going wrong . . . Dramatically so. Feels a bit like a Western version of Twin Peaks at times.


Part 2 (of 3) – The Music

I don’t always love country . . . and this is country! That said, it is an incredible counterpoint to the comic. I read the comic (all 3 times) with the music playing, and I was (truly) transported. It’s a pretty cool thing. I was in a different time, experiencing different events. I think my mind just works differently when music is playing – and this music accompanied this comic like a big red wine accompanies a giant, bloody steak. Yum. Now, I’m hungry.

The music itself is old fashioned. Merle Haggard or Hank Williams-type music. The vocals are easy and catchy and range from simple country voice to similar to Crash Test Dummies. Would I listen to this music on my iPod? Actually, yeah – so it’s pretty good.


Part 3 (of 3) – The Whole Package

It’s good. That’s it. The CD/comic combo would do you well on a rainy Sunday . . . in a place where you could come back to it a few times to get the real feel. This is not a Marvel comic, so no bubble gum and no tightly wrapped story with no loose ends . . . but if you can handle a little adult and a little mature (I can only handle a little myself!), then I recommend this little CD/comic combo.


That’s my review, and I’m sticking to it. - Fanboy Comics