Very Old Morris Share 'Ladies' Dart Night'

(Pavement) Very Old Morris have shared 'Ladies' Dark Night", which is the lead single from their new studio album "Boogedy Boogedy Boogedy Shoop" that will be available October 2nd on vinyl, cassette and digital/streaming platforms.

Very Old Morris is the solo project of San Antonio-based singer-songwriter Jerid Reed Morris (The Texases), featuring members of Rose Windows (Sub Pop). Their forthcoming album, Boogedy Boogedy Boogedy Shoop, arrives this fall as an irreverent love letter to '90s radio country-the likes of Garth, George, and Alan-filtered through a decidedly contemporary alt-country lens.

Recorded at Jett Bass Studios in Windcrest, Texas, the album pairs pedal steel and fiddle with raucous guitars and surprise mariachis. Morris' lean vocal renderings dovetail on several tracks with Jordan Bryant's dulcet timbre and the band's dense harmonies, cutting through the twang with something closer to dream-pop transcendence.

Boogedy's lyrics, meanwhile, skate between deadpan absurdity and emotional devastation. Opener "Howdy Arabia" is a surrealist Western where Tesla bros strike crucifixion poses and twin fiddles lament our deported Yellow Rose; "That's No Way To Act" dissects modern masculinity via truck nuts and Gin Blossoms jangle all while skewing Strait's "You Look So Good In Love" trope on the diagonal; "Ladies' Darts Night" drags you through a basement bar at last call; closer "Long Oval" stops everything cold-a father-son reckoning about inheritance and forgiveness that earns its tears honestly.

The album also features covers of Iron & Wine and Calexico's "Sixteen, Maybe Less" as a haunted his-and-hers duet with Bryant, and The Smashing Pumpkins' "Thirty-Three", transformed here into a banjo-driven two-stepper with a mariachi payoff. But it's the eight originals that deliver something totally new: a literate-cum-hilarious, formula-subversive, melodically-gratifying indie country record for the middle '20s. It's a sincere send-up of the greatest decade in the history of country music, and Morris is just old enough to desecrate it properly.

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