Mick Turner, Don’t tell the driver 시대가 원하는 예술가, 믹 터너

 

 

Text by John Glynn & Photo by mickturner.com

A peerless individual, Mick Turner is a man who oozes artistic dexterity, his legacy still continues to flout and bamboozle critics across the globe. A man of many talents, Turner is best known for his Dirty Three association, however, the enigmatic performer is also an acclaimed painter. It has been six years since Turner released a solo record, but the wait makes Don’t Tell the Driver all the sweeter. A profoundly textured and wistful album, Turner describes his latest release as a “post-rock rock opera.” In all honesty, this is a pretty accurate description, as the record carries an almost impenetrable theme of conjecture and bitterness. “Sometimes,” a beautiful track featuring Caroline Kennedy-McCracken, probably best known for her work with Deadstar and The Tupils, is a celebration of both love and lust, fixating upon the emotional rollercoaster that is life.

On his latest record, Turner managed to rope in some ludicrously talented artists’. Much like the man himself, these talented individuals seem to share his creative vision, one that is as elusive and intense as one of Mick’s watercolour paintings. A man who seems to specialize in composing melodies of modest elegance and magnified awe, Mick takes the listener on a kaleidoscopic auditory voyage, an unpredictable ride through numerous melodic realms. Carrying a thoroughly meditative vibe, “Gone Dreaming” encourages the horns to swing with influence and radiance, never relying on a solitary sensation. While masterpiece might be a bit over the top, this track offers such an alluring aspect of captivation, and like a supreme painting, is made to be admired.                

Unsurprisingly, Turner wouldn’t deliver a rock opera without a somewhat indistinguishable theme of conjecture and world-weariness, and without a doubt, Don’t Tell The Driver offers an ample amount of ambiguity and vision. Beginning ever so slowly, impelled to share due to his life, Mick waves his magic wand, merging adroit guitar play with enthralling drum beats. On ‘The Last Song’, probably the album’s finest moment, Mick enlists help from some of his showbiz friends, people who happen to be some of Australia’s most idiosyncratic artists. Turner succeeds in enhancing his marque instrumental compositions in a manner that we have not witnessed before. The vocal contribution from opera diva Oliver Mann merges seamlessly with Turner’s uncouth consistencies.

Harmoniously over-romantic brass engagements engulf and beguile, Turner even manages to incorporate a trumpet play and French horn on this record, something he may not have entertained in the past. Sated with archetypal and appropriate melodies, DTTD is a stimulating compilation of Aussie inspired music; Turner delivers melodies that reach for fresh precincts without forgoing the faint roving and unique tranquillity that has characterized Turner as a musician. www.mickturner.com

 

Contributor, John Glynn

As a contributor of CultureM Magazine, he is writing about global culture, for example, movie, music so on. And he has a PhD in Psychology.

영국 출신의 컬쳐엠매거진 컨트리뷰터 존 그린은 영화, 음악 등 문화 관련 컨텐츠에서 날카로운 분석을 통한 심도 깊은 이야기를 전해주고 있다.