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When Nathan Mongol Wells, the frontman and creative force behind Ottoman Turks, steps away from the band's energetic persona for his solo debut album, "From A Dark Corner," it becomes evident that he's exploring a different facet of his artistic identity. Set to release on State Fair Records this year, Wells' solo venture delves into introspective territories, distinct from the lively characters that populate Ottoman Turks' vibrant songs.
Unlike the conspiracy-obsessed uncle, the self-conscious southern bro, the perpetually partying rocker, or even the vengeful spirit of JFK that inhabit Ottoman Turks' tunes, Wells' solo work emanates a sense of having spent a night locked in heated debates at a dimly lit Dallas dive bar. It's as if he has finally found solace, retreating to a quiet corner of his home, a glass of well-aged tequila in hand, to silence the cacophony of voices echoing in his mind.
Ottoman Turks, renowned through accolades from Rolling Stone and the Dallas Morning News, boasts an impressive catalog of two distinct studio albums and over a decade's worth of performances that have numbered in the thousands. Among its members, guitarist Joshua Ray Walker and bassist Billy Law have each embarked on successful solo careers, but at its core, Ottoman Turks is Wells' brainchild. While Walker delved deeper into his country influences and Law produced poignant, literal ballads, "From A Dark Corner" presents a deeper exploration into the man responsible for the Turks' cinematic universe.
This debut album, produced in collaboration with John Pedigo and described by Walker as "fervorous," retains the chaotic essence of Wells' previously crafted characters, albeit in a less raucous manner. "From A Dark Corner" stands as a testament to Wells' evolution, embracing an autobiographical approach that lends a more traditional and honest perspective to his music.
Wells, who adopted the moniker "Mongol" from his high school fascination with the intercontinental Mongol Rally, considers this project a direct expression of himself when he's in the act of singing. The result is a unique blend of whimsy and darkness, a style reminiscent of Roger Miller, where Wells skillfully intertwines lighter tones with the weightier themes he addresses.
This distinctive musical fusion may be attributed to Wells' formative years, spent on the fringes of Dallas' eclectic musical haven, Deep Ellum. His influences, spanning from The Strokes to Tom Waits and Hayes Carll, have left an indelible mark on his artistic sensibilities. Wells, however, acknowledges that his inherent restlessness might prevent him
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