Dylan Golden Aycock, Slow Planes, Lake Mary, Scott Tuma | Hideout | Rock, Pop, Etc | Chicago Reader
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click to enlarge Dylan Golden Aycock

Dylan Golden Aycock

Jessica Price

Dylan Golden Aycock, Slow Planes, Lake Mary, Scott Tuma Recommended Soundboard

When: Tue., Oct. 11, 9 p.m. 2016
Price: $8
The Internet has brought music to places that local record shops and libraries didn’t. For proof, one needn’t look further than Tulsa guitarist Dylan Golden Aycock. His introduction to music came via local radio and skateboarding videos, and his earliest obsession was hip-hop. But thanks to his folk-guitarist father, he soon encountered Daniel Lanois and Bill Frisell, and from there his interests billowed forward, particularly his ardor for the American Primitive school of fingerstyle guitar. On his new album Church of Level Track (released on his own Scissor Tail imprint) Aycock has forged a lovely sound that dispatches aesthetic purity, mixing elements he first heard on John Fahey albums from the 60s with postmodern music by Jim O’Rourke made early this century. “Lord It Over” opens conventionally enough, with a rolling movement of arpeggios, individually plucked notes, and countermelodies made on his acoustic guitar, but liquid pedal-steel swells quickly join the soundscape, followed by electric-guitar embroidery, and finally a shuffle pattern on drums, all overdubbed by Aycock. On “Drenched Remnants Emerging All Mesmerized,” his woozy pedal steel crosses into ambient territory—leaning closer to B.J. Cole than to Pete Drake—with rapidly plucked acoustic figures extending out of the flowing lines. A couple of minutes into the closing epic “Scratch the Chisel” tumbling new-age synths trickle down, but they end up generating tension more than easing the music toward meditation. Aycock, 30, only picked up the guitar six years ago, and though he seems fully formed, I can’t wait to hear what he’s doing in another six.
— Peter Margasak



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