Orville Peck’s second full-length record, “Bronco,” released this month, is “gorgeous, aching, and cinematic, performed with precision and a kind of tender urgency,” amandapetrusich writes.
When the country singer Orville Peck released “Pony,” his début album, in 2019, biographical details were kept purposely scant. He was born somewhere in the Southern Hemisphere, perhaps to a show-business family. Maybe he had played drums in a Canadian punk band. Peck wore a series of leather masks with strips of dangling bordello fringe, which obscured most of his features, but not his searching blue eyes.
Peck’s second full-length record, “Bronco,” released this month, is gorgeous, aching, and cinematic, performed with precision and a kind of tender urgency. The new songs are cleaner, catchier, and several degrees more miserable.
“Bronco” was recorded live to tape in Nashville and features very few overdubs. Peck’s music contains nods not just to Presley but to Ennio Morricone, Chris Isaak, and Johnny Cash, and he has convincingly covered songs by Bobbie Gentry and Lady Gaga. His blend of pathos, bombast, and dark glamour evokes various times and places—maybe the mid-fifties, maybe the Deep South, maybe someplace where people know something about horses.
Though Peck was first signed to Sub Pop, an independent label best known for nurturing unruly rock bands such as Nirvana and Soundgarden, he is chiefly a country singer, and he released “Bronco” with Columbia. It has been a thrill to watch him further unsettle that genre, which has been undergoing an overdue self-accounting in recent years. Country music has always felt somewhat insulated from the whims of popular culture, headquartered, as it is, outside of New York and Los Angeles.
Yet Peck also shares some of Presley’s suffering. On “Let Me Drown,” a mournful piano ballad, Peck sounds defeated.
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