Appleton, Wisconsin’s Dusk may seem to have fallen from the sky. Surrounded by a music climate of destination festivals and instagram celebrity, they’ve remained reclusive, yet focused on the proverbial carrot on the end of the stick that’s hard for so many working musicians to define. For the past four years, they’ve maintained a steady schedule of recording and “hitting the dirt,” as they say: spending weeks on the road playing dives and basements. They’ve released two 7″ singles, a cassette, and now, thanks to Don Giovanni Records, they’re sharing their debut full length album, which is named Dusk. Their debut album has produced by the band in a gritty and slightly obtuse manner over the course of two or three years. The production value removes the listener from the context of the time period and acts as a hole in the wall of which to view the group as master composers and arrangers. Much like their debut single, Dusk’s self-titled record isn’t embracing revivalism, nor is it waving the flag of modern lo or hi fidelity. There is no concept or grand statement. It’s simply an album of songs. The lyrical content of Dusk is typically personal — the songs speak of inner conflict regarding the geographic region in which they live (‘A Different Shade Of Brown’), loneliness and relationships (‘Leaf’, ‘Old Magnolia’, Eyes In Dark Corners’, ‘The Names You Got’), the mundane (‘Done Nothin’), and human nature (‘Stones In Your Casserole’). Their deviations into politics are brief and veiled in metaphor and hyperbole, as in ‘Stained Blue’. Dusk’s word is sincere and easy to understand. It’s a common language spoken by the perfect messengers. Their debut full-length album brings this message to a world all too caught up in the complexities of the modern age.