By Cade Guerrero

In today's modern music scene, the country genre is a staple of american music. Yet somehow there are two defining groups, one who would agree with that statement, and another who would disagree. I am one of those people who would disagree. To me, country music has become somewhat of a typical overly produced and fabricated sound from what it used to be in the past. It seems as if there is a formulaic when developing a country song--lyrics that talk about pick-up trucks, driving a tractor and drinkin’ beer. It’s a contrast from tales of a gunslinger, western ways and traveling a lonesome road. There is no sustenance to the modern take on country music, making it seem that the genre has been gripped to the wretched hands of the music industry. 

Yet, in the distance is a mysterious masked gay Canadian cowboy who brings a new take on country, while taking examples from legendary past country musicians.

Orville Peck’s image is a polar opposite to modern country. In a heavily conservative music genre, that demographic consists of a majority of church-goers, Peck flaunts his differences to voice his vision of how country music is seen through his eyes. However, Peck’s newest EP creates a bridge that links the two oppositions together, which features a voice that those god-fearing people recognize.

His latest EP Show Pony Peck flips a switch on the sound that was distinguished on his last album Pony. He moves toward a more classical development on his sounds, incorporating twanging guitar riffs, bango twiddling and gorgeous piano progressions. He also creates a more bolstering sound in his voice. Comparing from Pony, Peck frays away from using high notes, and focuses on his rich baritone sound.

The EP is less flamboyant, but possesses a very subtle image of homoeroticism in the old west. Peck has verbally commented on old gay country musicians and where he gets his inspirations from. In the EP, its touches on the subject very lightly, in which he creates a deeper emotion for the listener to connect to.

One of the most surprising elements in the newest release, is the duet of Peck and the famous Shania Twain. Two opposites joining forces to show us both sides of country music. The most exciting part for me, is seeing a reminiscence of the old country duo Loretta Lynn and Conway Twitty. The sound is uncanny, and the deep symbolism in their feature, Legends Never Die, give the opportunity for listeners on that figurative barrier a chance to connect to Peck.

With Pony creating a Twins Peak-esq feel, the sound of country combined with 80s’ new wave and deep gay imagery, Peck newest creation is a change. It’s not a bad change, but Pony was an amazing album which made me adore the newest country star. Show Pony is something else. It’s not for me, a person who can’t stand the slightest sound of modern country, it’s for the opposite. It is a bridge to connect both sides, without having to compromise his image.

You can follow Cade on Twitter @LePetitSheriff.