In what may be perceived as a daring move, Appleton, WI's Dusk have insisted on attempting to thrive in their own small nook, just outside the boundaries of the Midwestern U.S.'s Rust Belt. They've built a small empire around their art – isolating themselves from the glitter of show business in pursuit of total creative freedom and an audience that will embrace their ideas and eccentricities. These ideas find their roots in the vast canon of American music; from the jazz standard songbook to the shuffle and stomp of honky tonk country.
Their self-titled debut was produced by the band in a gritty and slightly obtuse manner over the course of two or three years. The production value removes the listener from the context of the time period and acts as a hole in the wall of which to view the group as master composers and arrangers. Much like their debut single, Dusk isn't embracing revivalism, nor is it waving the flag of modern lo or hi fidelity. There is no concept or grand statement. It's simply an album of songs. The lyrical content of Dusk is typically personal – the songs speak of inner conflict regarding the geographic region in which they live ("A Different Shade Of Brown"), loneliness and relationships ("Leaf," "Old Magnolia," "Eyes In Dark Corners," "The Names You Got"), the mundane ("Done Nothi"), and human nature ("Stones In Your Casserole"). Their deviations into politics are brief and veiled in metaphor and hyperbole, as in "Stained Blue."
Dusk's word is sincere and easy to understand. It's a common language spoken by the perfect messengers. Their debut full-length album brings this message to a world all too caught up in the complexities of the modern age.