Album Notes

After the release of Dead Roses, his 2004 album, Kasey Anderson found himself suddenly on the radar of critics nationwide. Publications from No Depression to Punk Planet praised Dead Roses and listed Anderson as “one to watch in the alt.country scene” (Punk Planet). While such positive critical response was not surprising given the quality of Anderson’s work (Matt Ryan of The Village Voice listed Dead Roses as the #5 album of 2004), it did set expectations rather high when Anderson entered the studio to record the follow-up to Dead Roses.

Working once again with producer Eric “Roscoe” Ambel (Ryan Adams, The Bottle Rockets, Blue Rodeo), who helmed Dead Roses, 27-year-old Anderson’s goal was simple and clear: to create characters that would resonate, clearly conveying the hope, rage and fear that Anderson saw in the lives of so many, regardless of culture or geography. The result is The Reckoning, an album that will undoubtedly expand and broaden Anderson’s audience and leave a lasting impression on critics and listeners alike. While The Reckoning is not your typical “concept record,” Anderson admits to a very strong thematic thread throughout the album. “These characters are all at odds with their circumstances; they’re all in a position to make a choice for change,” he says. “These songs are about the moments that lead to those choices, and the consequences of the decisions made.”

The songs on The Reckoning reflect Anderson’s reaction to what he has seen unfold before him in the time since the release of Dead Roses, both personally and in a larger context. From the album’s title track, a sprawling, politically charged dirge set against a backdrop of feedback and pounding drums, to the beautifully sparse, piano-driven closing track, “For St. Ann’s,” Anderson puts a human face to problems too often expressed in rhetorical terms. The Reckoning is a singular songwriting achievement, which highlights Anderson’s growth as a writer, and his dedication to weaving evocative, character-driven lyrics into a broad sonic landscape. With the help of Ambel and a cast of musical all-stars including Keith Christopher (Billie Joe Shaver, The Georgia Satellites), Catherine Popper (Ryan Adams and the Cardinals), and Rob Arthur (Peter Frampton). Anderson has crafted an album that expands on the raw intensity of Dead Roses while showing his progression and maturity as a songwriter and musician.

In short, with The Reckoning, Anderson has delivered on the promise and potential shown on Dead Roses; after spending the last few years sharing the stage with the likes of Steve Earle, Tift Merritt, Jesse Malin, Peter Case, and the Supersuckers, The Reckoning offers evidence that Anderson is well on his way to earning a place alongside those names. The songwriter Copper Press referred to as “an emerging and fascinating voice” continues to prove he is indeed one to watch, and one we’ll be watching for a long time to come.