P4K; Daughn Gibson, 8.1; “Daughn Gibson’s previous band, the Pennsylvania stoner-metal trio Pearls and Brass, evoked the cigarette-smoke drag of a Harley Davidson ripping through the desert and blasting out classic rock riffs. A strong look, but there’s an element of dress-up to that kind of rock’n’roll posturing. In reality, Gibson was driving trucks, among other things, and while his new solo guise might reflect more honesty or depth, it’s no less rugged or brave.
All Hell finds Gibson digging through crates of country music past and turning up a wealth of noirish, creepy source material to sample. On “In the Beginning”, a dusty piano trapped in its own motion repeats as Gibson croons over the top. It’s a simple blueprint but one from which Gibson teases surprise as the song unfolds— from an electronic whoosh to a single-note female chorus. Those elements lull you further into Gibson’s strange dreamworld but at the same time hold you firmly on the precipice of a rude awakening. (….)
All Hell is a subtly clever record that pits one type of music that strongly evokes one era— here, country music— against another, namely this decade’s sample-heavy culture. Gibson does a lot of questioning within that framework, both seriously and tongue-in-cheek. All of that makes for a rewarding record to think about, and to intellectualize, but All Hell wouldn’t be nearly so fun to listen to if it weren’t for Gibson’s ear for melody. His thick baritone breezes confidently over the songs, lassoing hook after hook, redeeming his burnt-out characters through song. As he knowingly sings at one point: “If I lose you I might/ Write a song about some rain on a highway.”” (FULL REVIEW HERE, IF YOU’RE INTO THAT KIND OF THING)