As one would guess, the creative and versatile Steve Dawson was most productive during the pandemic shutdown, recording enough material for three albums he plans to release in 2022. We covered the first, Gone Long Gone on these pages and now Dawson returns with his all-instrumental pedal steel album, Phantom Threshold. We often use the term ‘get lost in the music’ which fits beautifully for this dreamy, oft-psychedelic set of tunes, perfect for a late-night drive into vast expanses. Yes, this is one you keep in your car when you’re alone and just want to let your mind wander as you hold steadfast to the wheel. The blend of sonics will enticingly carry you away.

This is a deep, elusive musical territory rarely explored as the pedal steel is usually an accompanying rather than a lead instrument. It’s Dawson’s second foray, having resumed the conversation from his pedal steel-based instrumental 2008 release Telescope. Hence, the core band dubbed ‘The Telescope Three” is comprised of frequent collaborators Jeremy Holmes (bass), Chris Gestrin (keyboards), and Jay Bellerose (drums). Daniel Lapp (violins, cornet) and Fats Kaplin (accordion, banjo, fiddle) join on select tracks. Dawson, whose pedal steel is consistently the lead voice, recorded with an array of vintage tube amps, surrounding the sound with unlikely instrument choices such as pump organ, accordion, marxophone (a kind of fretless zither played with hammers), and Moog synthesizer to create woozy, twisting, vaporizing effects.  Think back to Ry Cooder’s iconic Paris, Texas soundtrack and you begin to get a handle on the vibe. 

This work defies the notion of the current streaming era where single tracks capture one’s attention. To do anything else but listen to this work in its entirety is failing to do it justice. Different textures, moods, and sounds emerge on this sonic journey from the mixture of strings and keys on the opening “Cozy Corners” evoking heady music of the ‘70s from John Fahey to Pink Floyd.  All tracks were written or co-written by Dawson except the acid-laced cover of The Beach Boys’ “You Still Believe in Me,” penned by Brian Wilson. Peeking into the credits, one is not surprised to see the multi-instrumentalist Dawson not content with just the pedal steel as he adds various guitars, mellotron, and on “Cozy Corners” the aforementioned marxophone for example. On the other hand, “Burnt Ends” is a solo pedal steel excursion that leads into the keyboard heavy “Twig Bucket” where Gestrin handles Wurlitzer, Moog, organ, pump organ, mellotron, and synth. These layered textures were mixed expertly by noted producer Matt Ross-Spang at Sam Phillips Recording Studio in Memphis. “Ol’ Brushy” adds different sounds too with Gestrin playing clavinet and electro organ to harmonize, funk up, and color Dawson’s melodic pedal steel runs. 

In this vein, themes are briefly stated only to dissolve as new ones emerge as we ride the waves of this intoxicating mix of strings, keys, and electronics through such fare as the title track, “You Still Believe in Me,” “Tripledream,” “Lily’s Resistor,” and “That’s How It Goes in the Relax Lounge.” “The Waters Rise,” co-written with Kaplin, stands out as a duet piece with Dawson adding National tricone to his pedal steel while Kaplin plays a trippy accordion. Lapp’s cornet adds yet another surprising texture in the latter section of “Tripledream.” Having devoted ten tracks to imaginative textural layering, Dawson goes out solo in a palette cleansing move on a prepared Weissenborn (paper taped across the strings) as if to take us home, grounding us in a more tangible place and perhaps setting the stage for his next offering.

Dawson never ceases to amaze. This unique work is a more than worthy addition to his storied catalog. Happy trails and pleasant dreams await.