Buffalo Tales: Roadtrip confessions (2013)

Sonidos folkies para el día de hoy. Buffalo Tales es el proyecto unipersonal del cantautor y bardo australiano Wes Carr. Su sonido es absolutamente deudor de la mejor tradición Folk norteamericana de raíces europeas. Su sonido es limpio y más que descarnado. Su instrumentación, parca. Lo interesante en la música de Buffalo Tales son las narraciones de sentimientos en primera persona.
Evidentemente, en los últimos tiempos, el neorenacer del Folk personalizado en bandas como Fleet Foxes o Bon Iver ha decaído un tanto, pero ejemplos como el de Buffalo Tales o el que os presentaremos a continuación son representaciones claras de que el Folk no es una música que se ancle a ninguna moda, sino un género musical con entidad propia que cada cierto tiempo pasa por un renacer que le hace reverdecer laureles.

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“With his new album Roadtrip Confessions Wes Carr returns to his first love: honest, acoustic music. No flash. No tricks. Nothing but the voice, and the songs. Deeply personal, much of the album was written in the last year as Carr experienced one of the greatest life changes of all. “Most of it was written when I knew my wife was pregnant,” he laughs. “That’s been the secret link: that this new being was coming and joining us forever, and I had no time to waste. I want to say all this to the world before my son grows up and says ‘hey Dad, why didn’t you do all this?’” So it’s somewhat ironic that the most personal, heartfelt material Carr has ever made is coming out under a different name. With Roadtrip Confessions it’s goodbye Wes Carr, hello Buffalo Tales.
The space and openness of the album recall the landscape where Carr grew up: the bare scrubland north of South Australia’s capital, Adelaide. “It’s funny you say that because that’s where three of the songs were written: ‘Please’, ‘Waiting for You’ and ‘Tricks to Magik’ were all written when I was younger,” he explains. “That was my first explosion of songwriting: mum gave me a John Lennon anthology boxset and I got inspired by all of his home recordings. It did something to my brain: I just went RAAA!”
These were the songs he took with him to Sydney, after unexpectedly moving with his father as his parents marriage dissolved (“I went to school on the Friday and was told I was boarding a plane on Monday morning and moving to Sydney for the rest of my life”). These were the songs that he played around his first gigs, that scored him a publishing deal before turning 20, and drew the attention of industry heavyweights like manager John Watson. Why didn’t they come out until now?
“They kept telling me I was too young,” he laughs. “They said ‘you don’t know anything about getting your heart broken’ and all this sort of stuff. They said I needed to go and play 150,000 gigs and come back when I was thirty. And I think they were right, in some ways. Those songs are more true to me now than when I wrote them. It’s almost like I predicted what life was all about before I’d even experienced half of it” (Planetary Group)

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