Album Review: Chris Thile – Laysongs (Nonesuch)

American bluegrass musician Chris Thile has just released his new album, Laysongs…a truly solo effort. The 13th Floor checks it out.

Chris Thile was born into an evangelical Christian family and fell in love with the mandolin at a very young age. At two years old he was begging his parents to buy him one and his request was finally answered when he was five. By the time he was eight years old he was playing in the band Nickel Creek with family and friends. At the age of twelve he released his first album. Since then he has continued with Nickel Creek, set up his own band, Punch Brothers, and collaborated with outstanding musicians such as Yo Yo Ma and Edgar Meyer.

Now at the age of 40, Thile has released Laysongs which is his first completely solo album. Laysongs was recorded in 2020 in a converted church in upstate New York with engineer Jody Elff and co produced by his wife, the actor, Claire Coffee. Together they have brought together three covers and six original songs to create a powerful album full of virtuosity on the mandolin, challenging lyrics and marvelous use of Thile’s voice. The album blends classical, folk, bluegrass and jazz music, a wide ranging vocal performance and lyrics informed by Thile’s personal spiritual journey from being a “strong Christian” to “weak agnostic.”

The first song and title track, Laysong begins with a simple handclap rhythm. This is joined by Thile picking and strumming the mandolin and starts singing by asking “O but then what shall we sing?” . The lyrics set out the key themes for the album “O what relief can you bring. Now that our souls are untethered. And nothing’s sacred. Or Profane.” Thile fires notes, rhythm and melodies from his mandolin and sings in a falsetto that reminds me of Jeff Buckley.

Ecclesiastes 2.24 is named after the Old Testament book of wisdom that states “There is nothing better for man, than that he should eat and drink, and that he could make soul enjoy good his labour. This also I saw was from the hand of god” suggesting that it is best for people to enjoy what god provides. It starts as a gentle meditative instrumental piece, and then becomes agitated due to shifts in tone and speed of picking. The references to food and drink are ones that Thile returns to in later pieces.

The first of three covers is God Is Alive Magic is Afoot. This Leonard Cohen poem had previously been put to music by Buffy Sainte-Marie. Thile’s mandolin replaces the gentle guitar of Sainte-Marie’s version and in doing so creates greater dramatic impact which complements the lyrics about the meaning of magic and god.

The centrepiece of the album is the three part suite, Salt (in the Wounds) of the Earth. This is based on the satirical novel The Screwtape Letters by the Christian writer and theologian CS Lewis. In these letters a demon, Screwtape, gives advice to his nephew on how to corrupt a human soul. Part 1 begins with a single mandolin string being plucked and then gradually adds more strings until there is frenetic playing of chords. The vocals match the intensity of the playing as impossible choices are given, “Choose now and forever who you’re running from. Those savage non believers or your Lord above. Whatcha gonna do.” Part 2 has a stop start picking that moves around the fretboard as if it is tentatively leading us somewhere. The rhythm builds up and the vocals start with an elongated “Sweet Jesus that was close.” The track has a sinister air created by a combination of picking high notes and strumming low ones. For Part 3 the mandolin is used to create a unsettling background, complete with barking sounds, to apocalyptic lyrics such as “It’s hellish there unleash the hounds” and “When you’ve finished harvesting the fear we’ve sewn.” The lyrics end on the challenging question being asked again, “Whatcha gonna do.”

The next tracks provides some relief from the intensity of Salt. Béla Bartók’s Sonata for Solo Violin, Sz. 117 IV. Presto starts with a very fast, cheerful folk melody. It slows to a call and response of notes and then builds up speed again. This is followed a lively song to the Greek god of the vine –  Dionysus. It celebrates the pleasures of the moment, moving from “sing what I see” to “dance you what I hear” and finally “play them what we taste.” On this track Thile’s mandolin playing is nuanced, at times just providing rhythm for the vocals, other times emphasising the lyrics.

The final song returns to the  question posed in the opening lyric.  Thile sings the Hazel Dickson bluegrass song Won’t You Come and Sing for Me.  Thile gives a restrained and impressive vocal performance supported by delicate picking between the verses and notes lightly strummed during the verse and chorus. This beautiful and sad song ends with an affirmation of the importance of physical connection and song “How dear to my heart. How precious the moments. We stood shaking hands and singing a song.”

Throughout the album the inventive and varied mandolin playing always serves the song. Thile’s vocals are varied showing a range greater than on previous releases.  His lyrics, and the lyrics of others, explore big questions about the role in life of community, faith and song.

This album entertains, educates and encourages you to think deeply about the subjects and to listen carefully to Thile’s playing as well as his words. It will go on revealing new discoveries on each listen.

John Bradbury