"Ditching guitars for synthesizers may be old-hat in pop mythos, but the notion of Big Thief's creaky folk music incorporating a future-shock of sci-fi sounds is intriguing. And yet locating the synths on The Mirror can feel like combing through the jungle for the lost city of Zinj. It falls on Adrian Olsen, an engineer on Meek's previous album, to provide some subtle modular synth to the arrangements."
"So, The Mirror is more about fresh adornments than drastic reinvention. And that's OK because the album still showcases many of the best qualities Meek has been pursuing outside of his main band. Leading a group of seasoned musicians that includes guitarist Adam Brisbin and harp player Mary Lattimore, and working once again with Krivchenia as his producer, Meek continues to revel in the role of traditional troubadour of mid-tempo laments."
"The fundamentals are self-evident, the sound is timeless, and the atmosphere is easy to embrace. Meek happily moves through a laundry-list of country music requirements: twangy guitars, broken hearts, Biblical imagery, even a song titled "Ring of Fire." "Music is in my soul," sings Meek earnestly, in his typically quivering timber."
Buck Meek's fourth solo album, The Mirror, explores the addition of electronic elements to his folk-country sound following a conversation with Big Thief bandmate James Krivchenia. Engineer Adrian Olsen contributes subtle modular synthesizers that remain understated in the mix, creating atmospheric touches reminiscent of the Postal Service's minimalist approach. Rather than a drastic reinvention, the album represents fresh adornments to Meek's established style. Working with seasoned musicians including guitarist Adam Brisbin and harp player Mary Lattimore, alongside producer Krivchenia, Meek continues his role as a traditional troubadour. The album embraces country music conventions including twangy guitars, broken hearts, and Biblical imagery, while maintaining a timeless, accessible atmosphere that showcases Meek's strengths in crafting intimate, tender moments.
Read at Pitchfork
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