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Bocephus King

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In Bocephus King, the enigmatic Vancouver native who’s melodiously skirted so effortlessly between blues, alt country, traditional songwriting and modern aesthetics, we find now the voice of a songwriter and musician on a new path, ever-creating his own distinct sound. The results are nothing less than glorious on his new album WILLIE DIXON GOD DAMN.

Starting where he left off with traces of the genre smashing joy and adventure in his previous critically acclaimed ALL CHILDREN BELIEVE IN HEAVEN, King has sabotaged the typecasting. There’s less the gravel-raw hobo-rock alternating with jazz-noir torch songs present in his earlier music. There’s an urgency here, as if the album is a signpost at the end of the world. King’s own voice never being more present and contemporary. He avoids the easy answers and therein lies some of the majesty of the tone of Bocephus Kings’ latest work. The new album continues to present King as a cultural omnivore who eats with his mouth wide open. But the musical influences may as well be spoken of with the same weight as how literature and cinema are just as significant ingredients. His eclectic mélange integrates a soulful street carnival blues, moments that possess the glissando of a Michel Gondry dream sequence, the rustic appeal of a border town roots rock, and for the first time, hints of Eastern mysticism. Somewhere, George Harrison is smiling on the whole affair.

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