The Dead Tongues at Stone Church

After five months of not picking up an instrument, The Dead Tongues’ Ryan Gustafsonwanted to get rid of everything that was tied to his identity as a musician. He eventhought about changing his name. He was getting ready to throw out old notebookspacked with years of material but, for some reason, he decided to stop and go throughthem, just to see if there was anything worth saving. And sure enough, he found someimages and lyrics, threads from former selves he didn’t want to lose. Thus was thecatalyst for Dust, his fifth and best album as The Dead Tongues.Gustafson recorded Dust in nine days, the fastest he’d ever recorded anything...

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After five months of not picking up an instrument, The Dead Tongues’ Ryan Gustafsonwanted to get rid of everything that was tied to his identity as a musician. He eventhought about changing his name. He was getting ready to throw out old notebookspacked with years of material but, for some reason, he decided to stop and go throughthem, just to see if there was anything worth saving. And sure enough, he found someimages and lyrics, threads from former selves he didn’t want to lose. Thus was thecatalyst for Dust, his fifth and best album as The Dead Tongues.Gustafson recorded Dust in nine days, the fastest he’d ever recorded anything. It wasthe fastest he’d ever written anything, too – in the past, writing a song would takemonths, but this time he somehow felt freer, and wanted to have fun. The record wasrecorded at Sylvan Esso’s studio, Betty’s, in the woods of Chapel Hill, North Carolina.He built it out with help from a number of his musician friends - Joe Westerlund(Watchhouse, Megafaun, Califone) on drums, Andrew Marlin (Watchhouse) onmandolin, backing vocals from Alexandra Sauser-Monnig and Molly Sarlé of MountainMan, among others.Dust is meant to be listened to while taking a night drive, farflung and roving andexistential. Somewhere between the expansiveness of American jamband and thebanjo-centric folk songwriting of Gustafson’s Appalachia home. Gustafson explains thethematic throughline succinctly: “It’s this idea of uprooting and rebirth and cycles, andthe past informing the future, and the future informing the past. There is no single story.Everything is connected.”124%

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