The collaborative spirit of the Upper Peninsula finds a sprawling, kaleidoscopic expression on ‘Call Me Dandelion,’ the latest offering from the experimental collective known as Windmill Music. Led by the restless creative vision of Kent Randell, this record functions as a sonic scrapbook of memory, geography, and domestic absurdity. It is a work that refuses to settle into a single genre, opting instead for a rich, orchestral form of folk-rock that feels both deeply rooted in the soil of Chassell, Michigan, and entirely untethered from conventional song structures.
The album opens with the multi-part epic “We Woke Up :: Shirtless Man, Garage Full of Everything (Chassell, Mich.),” a track that immediately establishes the project’s communal nature. Jesse DeCaire’s rhythm guitar and a soaring lead part provide a sturdy foundation for an arrangement that includes everything from sampled clarinet by Brook Randell to vocal contributions from S.J. Randell. The transition into “There Is A Ghost In The Mirror :: There Is Not A Ghost In The Mirror” highlights the band’s fascination with duality and the mundane hauntings of daily life. Here, the cello work of Daniel Lin moves seamlessly between bowed resonance and plucked, bass-like punctuation and adds a chamber-pop sophistication that elevates the record far beyond simple indie-rock territory.
One of the most emotionally resonant moments arrives with “I Knew You Were Never Going To Burn The House Down That Day,” a title that captures the dark humor and relief inherent in long-term relationships. The addition of Alisha Autio’s flute provides a pastoral lightness that contrasts beautifully with DeCaire’s bass work. As the album shifts into “Laps,” the vocal landscape expands even further. Chris Moore takes the lead with a performance that is both fragile and commanding, supported by the backup vocals of Mary Andronis. Throughout these early tracks, the rhythmic cohesion provided by Evan Potila (drums) and Josh LaMere (bass) ensures that even the most experimental flourishes remain grounded.
The record’s midpoint, “Only Salt :: Tie Yourself To Love,” serves as a testament to the group’s ability to weave multiple voices into a singular tapestry. This track features a choir of contributors, including Selina Potila, Jim Bellmore, and Evan Potila, creating a sense of communal catharsis. It is followed by the improvisational energy of “North Champion,” where Jon Bloom provides both the drum track and a distinct, right-channel melody guitar that dialogues with Randell’s vocals. This track feels like a spontaneous conversation captured in real-time, emphasizing the unpremeditated ethos that permeates the entire release.
The latter half of the album leans further into the surreal. “Plastic Crow Drinking Water On A Windowsill” features the vocals of Anne Baldridge and concludes with a segment engineered by Moe Sherazi, who also contributes guitar, bass, and drums to the track’s final movement. This lead-in to the finale, “Lapse :: Call Me Dandelion,” brings the record to a poignant close. With Jim Bellmore taking over on bass and Randell contributing live clarinet, the song feels like a final exhalation. The production, split between the historic Da Yoopers Studio in Ishpeming and the Boiler Room Studios in Worcester, maintains a warm, analog clarity that preserves the intimacy of the performances.
‘Call Me Dandelion’ is an achievement of collective empathy. Kent Randell has managed to organize a diverse cast of musicians into a coherent, thought-provoking sound poem that honors the specificities of its Michigan origins while speaking to the universal complexities of growth and loss. By embracing a wide array of textures, from the woody resonance of Lin’s cello to the sampled voices of family members, Windmill Music has created a record that feels like a living, breathing entity. It is a rare document of a creative community operating at its peak, proving that the most powerful art often emerges from the most familiar places.
To learn more or make a purchase, please visit: Cudighi Records
