Mark Easton’s new album, “Dark Horse”, is an unusual recording that deserves a solid three-star rating for its sheer audacity, even if it falls just short of a fully cohesive development. The veteran Australian guitar player dives into a striking fusion, blending heavy, industrial blues-rock with Central Asian folklore, incorporating traditional instruments performed with expertise and overtone singing techniques. The result is a dark, dense and magnetic atmosphere that evokes experimental landscapes, at times reminiscent of Tom Waits’ music.

Across its thirteen album tracks, listeners will find daring bold reinterpretations. Standouts include a rendition of The Doors’ “Roadhouse Blues” delivered with a gritty distortion that reminds ZZ Top, or a high energetic “Gallows Pole” However, the project’s ambition occasionally trips over its own execution. As a largely solo production with overlapping layers of exotic instrumentation, the recording sometimes reaches a saturation point, making the mix become excessively dense and diminishing the clarity of Easton’s raw, expressive vocals.

“Dark Horse” is an undeniably brave and daring experiment that shakes the very foundations of traditional blues but that remains halfway between sheer brilliance and overproduction. It is highly recommended, whether on CD, Apple Music, or other streaming platforms, for listeners seeking off-the-beaten-path sounds. But, in my humble opinion, it just lacks the structural consistency required to be considered a flawless masterpiece.