“Will Stratton’s songs are beautiful and bracing, despite — or maybe because of — the abstract, ambitious goals that motivate him…[his] songs gain strength from their ambiguity; stylistically, they’re too imaginative to be easily pigeonholed. Sufjan Stevens and Nick Drake both work as reference points; like them, Stratton makes songs that are elegantly orchestrated. But Stratton is rapidly coming into his own.” – David Garland, for NPR Music

The focal point of Post-Empire is his insistent fingerstyle guitar playing, descended as much from British folk icons like Bert Jansch and Davy Graham as from American avant-gardists like John Fahey and Robbie Basho. Post-Empire runs with the mercurial American folk tradition. While some music writers may talk themselves hoarse about the dueling narratives of hype and authenticity these days, there will always be artists quietly making music impervious to buzz, telling real stories of decline, romance, hope, regret, and renewal. Post-Empire is Will Stratton’s fourth full-length record, and it is his subtlest and most devastating album yet. The album’s skeleton was recorded at Rare Book Room in Greenpoint, Brooklyn by Nicolas Vernhes (engineer for Spoon, Deerhunter, Cat Power, Animal Collective, Dirty Projectors, et cetera).

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