Still Corners ‘The Last Exit’ LP
Available January 22 on Wrecking Light Records
BACK with their fifth album, transatlantic dream pop duo Still Corners ride triumphantly over the vast horizon on this delightful slice of desert noir ‘The Last Exit’.
The title track, also their current single, charts the course for this eleven track collection of gorgeously crafted songs, organically yet precisely created by the perfect pairing of multi-instrumentalist Texan son Greg Hughes and the smoky crooning of English vocalist Tessa Murray, whose keys add a bonus smattering of synth pads.
‘The Last Exit’ is a hypnotic journey from start to finish with steel slide guitars punctuating the spacious sonics, conjuring images of epic travels, wide expanses and ram-shackled dusty towns along the way.
“We found something out there in the desert,” says Greg. “Something in the vast landscapes that went on forever.”
‘Crying’, a single from last year, continues the early chilled vibe on this LP’s lonely highway with destination unknown, before the pace gallops briefly for the catchy ‘White Sands’, surely a future single too. ‘Mystery Road’ and ‘Shifting Dunes’ also rank among the many highlights.
Like most creatives, this album was brought into sharp focus by the pandemic when almost everything came to a halt, says singer Tessa, whose vocal harmonies add an orchestral presence to the recording.
“There’s always something at the end of the road and for us it was this album,” she said.
“We thought the album was finished but with the crisis found new inspiration and started writing again.”
The songs ‘Crying’, ‘Static’ and ‘Till We Meet Again’ were borne out of the impact of isolation and the need for social contact and intimacy.
The sharp-eared among you will recognise the sound of Still Corners from the subliminal use of their music in TV shows such as Made in Chelsea, as well as many movies.
Murray’s vocals inevitably draw comparisons to Lana Del Ray, while the sound is, at times, reminiscent of anything from Cigarettes After Sex to Chris Isaak or even the early (and arguably better) days of Coldplay – to give new pilgrims a simpler idea of the quality of this great album. And none of those similarities can be a bad thing.
‘The Last Exit’ shimmers and dazzles, taking you on a dreamy escape to the freedom of wide open plains we can only currently dream of, but the quality of songwriting is good enough to make it a path worth exploring in any case.