Arborist A Northern View Rollercoaster
I had wondered how long it would take for a full-blown album to appear with its influences fuelled by the enormity of Brexit and its ramifications. It should not come as a surprise that Mark Mc Cambridge of Arborist should take up that mantle, given its potential impact on Northern Ireland and particularly as he composed the soundtrack to Clare Dwyer Hogg’s recent film Brexit: A Cry From The Irish Border.
The album appropriates different musical forms across its eleven tracks, weaving between folk and rock, experimental and the spoken word, as Mc Cambridge considers eras past and the unsureness of times to come. His sound at times brings to mind that of New Zealander Marlon Williams, given his impressive vocal range and I’m also reminded of his fellow Ulsterman Neil Hannon on the album’s second track Here Comes The Devil. A dark shadow prevails across much of the material - and indeed from the album’s artwork, as the writer attempts to unravel thoughts of a sense of gloom. “I haven’t seen the sunshine in nearly a month, I’ve retreated, I’ve drawn the blinds, I need a little space so I can rewind” he announces on Too Much On My Mind.
In a similar manner that HYMNS TO THE SILENCE was a reflection by Van Morrison of a particular moment in time, A NORTHERN VIEW is similarly passionate and thought provoking. The recording process commenced in 2017 at Peter Gabriel’s Real World Studio in Wiltshire. Over a two-year period, further recordings took place at Amberville Studios in Ballymena, Soup Studio in London and Start Together Studio in Belfast. Mc Cambridge co-produced alongside Ben McAuley, with further musicians James Heaney (bass), Jonny Ashe (guitar) and Richard Hill (piano, organ). Additional musicians were engaged to add strings, brass, pedal steel and backing vocals, resulting in lush and rich orchestral layers on By Rote and Can I Add You To My Will. The spoken word Taxi is both a sad and amusing tale of his father’s cousins claim that he was single handily responsible for transforming Whisky In The Jar from a traditional ditty to a rock chart topper. The title track brings the album to a close in spectacular fashion, it’s a six-minute epic that builds to a crashing climax like great rolling waves breaking on a stony beach. Distorted fuzzy guitar and exploding horns contribute to the rawness of the song, alongside Mc Cambridge’s rugged vocal, its simply beautiful.
Arborist have been coming to the attention of both the media and punters over the past number of years without any fanfare. This delightful album is bound to raise McCambridge’s profile even further. Essential listening.
Review by Declan Culliton
Louien None Of My Words Jansen Records
The positive and unexpected kickback to a five-minute demo song, uploaded to Soundcloud by Louien in 2018, was the spark that ignited the Norwegian singer songwriter’s solo career. Yet another female artist carrying a torch for the burgeoning Nordicana genre, Live Miranda Solberg is the lead singer songwriter of Norwegian four-piece band Silver Lining. Using her stage name Louien, she joins labelmates Signe Marie Rustad (who guests on the album) and Malin Petterson on Jansen Records, to release a striking debut album.
There must be something in the air in Norway that generates such exceptional vocalists of late. Louien’s high pitched angelic voice is immediately impressive from the word go, before you even consider her lyrics. Much of the material was conceived following the passing of her father four years ago, as she attempted to cope and reconcile with her loss (‘’this album is probably more about the first phase of a grieving process – hopelessness, isolation, anxiety and depression”).
Emotion filled and open hearted it may be, mourning the passing of her father, but it also focuses on rebirth and stoicism, as she accepts the inevitable and reassess her own relationships, both past and present. Opener I Will Follow ushers in her crystal-clear voice alongside simple acoustic guitar, before being joined by sweeping strings. Heart And Mind Alike is for her father, an acceptance that grief is more than a passing emotion, as she vows to cherish the memory rather than mourn the past. The Fool is self-deprecating, a gentle folk melody harking back to bad relationships. Like much of the material it’s awash with exquisite string arrangements. Endless Love, the second last track, offers optimism and light at the end of every tunnel.
The final song is the demo that ushered in the motivation to write and record NONE OF MY WORDS. Louien has resisted retitling the song and simply names it Demo. No.1. It’s a fitting bookend to a body of work that navigates its path across a collection of emotions. It’s another gem to add to the growing catalogue of Nordic artists successfully gate crashing the Americana classification.
Review by Declan Culliton
Amberly Chalberg Hi-Line Self Release
There is a clear heart to this album that highlights the various stories that make up a life - from the those that were a part of a lesson learned, or of the positivity of growing to understand who and what you are, or may become. This is Chalberg’s first full length album and is dedicated to her father. The album cover and title are both a reflection of their relationship, with the title being their home location and the cover image a personal reference to him. He passed away last year after the album was recorded and therefore this is a lasting tribute to their relationship and also of others.
Chalberg recorded the album under the guidance of producer/engineer Todd Adelman, who also mixed the album. It was recorded straight to quarter inch tape and makes good use of the very seasoned rhythm section of Jim Christie and Taras Prodaniuk and equally well with guitarists Joe Mazza and Eben Grace. This core band was joined on occasion by the added instruments of keyboards, pedal steel, harmonica and harmony vocals. This gives the album an urgency and vitality that is in keeping with the motivation behind the songs. Chalberg has had comparisons with some of the best of the leading performers of roots Americana and it is not difficult to see why.
She possesses both a talent as a vocalist and as a songwriter, and these 12 self-written songs (one of which is a co-write) are testament. The sound is built around solid roots rock that is firing on all cylinders. Crazy ‘Bout You is a bluesy statement of love with some upfront guitar. A relationship with alcohol appears in the titles of the songs Drunk and The Whiskey Song. Lil Bit Country refers more to location that musical choice, yet like many of the other songs it has a nicely roughen edge to its delivery. There is a venerability and openness in the vocal of I Apologise, a self-explanatory song of the way that one cause hurt to another and is an album highlight.
HI-LINE marks Chalberg as a mature artist who, after one EP and this album, is likely to continue to produce work that is, while not unlike in overall sound to a number of her equally worthy contemporaries, honest and true to her particular viewpoint. In doing that she is also mirroring the situation of many others, who will readily recognise a kindred soul and some similar situations - but with a compelling soundtrack.
Review by Stephen Rapid
Neil Bob Herd & The Dirty Little Acoustic Band Every Soul A Story Cattlecall
This is the latest incarnation from Herd that continues his musical journey through roots music that include blues, bluegrass, country and Scottish folk. Herd is a former member of Western Electric and The Coal Porters, among many other musical guises. He now seems armed to get a little more electric with his comrades Paul Fitzgerald (dobro, guitar, vocals), Glenn Lamberton (bass) and Gary Smith Lyons (drums). Herd contributes lead vocals, guitars and pedal steel. A couple of guests also join them on various tracks, all under the production hand of Dan Swift.
One of the immediately noticeable components here is the vocal inflection with an identifiable regional Scottish accent throughout. This gives focus and personality to the songs which are robust, roots and rocking’ for the most part. The albums first track Bad Lands is open enough lyrically to make the place where things are turning bad to be whatever place that suits that description. It moves at a pace and features some dexterous guitar from Herd. As Much As I Need To declares that love, in this case, is a necessary function but one that is only given with consideration. It is another guitar driven outing with some pedal steel to sweeten the deal. The Colour Of History takes a decidedly folkish sea-faring tone, with accordion adding much to the overall mood of times past. In context it is a stand out, though on its own may give a slightly unrepresentative view of the album.
Leave Only Love features a more relaxed pace and has banjo high in the mix to give it an old time flavour. There is a hopeful premise to Light A Single Candle as it offers the need to light a single candle where darkness reigns … and hope remains. The next song takes on a groove that is uplifting with underlying bass behind the fiddle and baritone guitar, giving the backbone to a song which makes the point of its title and what may lie in each of us. It is a song that again should be given prominent exposure and another album highlight as is the beat group 60’s feel of Well, Well. Coming Back As Jason is a softer ballad about a beloved friend and hero. Herd’s pedal steel is integral to this song, adding to its slightly dreamy nature. Exactly What I Wanted is co-written by Herd and Kerenza Peacock, otherwise the remainder of the song were written by Herd and show him as an accomplished writer. They have saved Best Song to last. While it may not necessarily be the best song on the album, it is the last track and again has an engaging retro feel that offers an up-tempo and uplifting ending. An album and artist that are a welcomed addition to the better examples of roots music emerging from the UK at this time. That tells a story in itself.
Review by Stephen Rapid
Della Mae Headlight Rounder
This is the fourth album release from this Boston bluegrass band and the title track, Headlight, supports the ‘Me Too’ campaign with a call to arms for all to endorse such a worthy movement. There are other tracks that communicate a similar message, It’s About Time and Change among them.
Now based in Nashville, this all-female string band is made up of Celia Woodsmith (lead vocalist/guitar), Kimber Ludiker (fiddle, guitar, vocals), Jenni Lyn Gardner (mandolins, vocals), Avril Smith (acoustic and electric guitars) and Jen Gunderman (piano, organ Wurlitzer, synths, celeste, harmonium, mellotron, vibraphone).
They are joined on this venture by Sophie Guigeno (upright bass), Jamie Dick (drums, percussion) and Dan Knobler (electric and acoustic guitars). Guest vocalists are The McCrary Sisters (three tracks), Vickie Vaughn and Ruth Moody.
Produced by Dan Knobler (Caroline Spence, Lake Side Drive) at Sound Emporium Studios in Nashville, the sound is really buoyant and celebratory and jumps right out of the speakers at you. The arrangements are terrific and filled with dynamic melody and rhythm changes as the songs unfold. Throughout, is the superb fiddle playing of Kimber Ludiker, weaving in and out of the arrangements and underpinned by the excellent mandolin lines of Jenni Lyn Gardner.
However, the entire project is led by the compelling vocals of Celia Woodsmith who carries the songs lightly with stellar performances on all twelve tracks. The colour and texture of the songs lifts the entire process way above that of a simple bluegrass band and the musicians have really stretched out this time around with playing that is of the highest order.
The Odds Of Getting Even has some killer mandolin playing which is matched on fiddle on Wild One, a real rocking tune that kicks hard. Waiting For You deals with a woman who is trying to start a family but cannot get beyond the fact that her body is not responding. Peg Monster is written by Kimber Ludiker and is a pure bluegrass instrumental with the band having quite a workout and guitar, mandolin, fiddle all dancing around each other in a heady stew of sound. The Gospel Blues of Change carries a message that there is a light in the darkness and the mandolin leads a stirring arrangement that has another impassioned vocal delivery from Woodsmith.
The Long Game speaks of staying in the fight as long as possible and Working is a Blues song that tips a hat to those who went before and their sacrifice in making things better for all women. It has a fine blues arrangement with backing singers that give the song a Gospel feel. Final track, I Can’t Pretend, councils that we learn from our mistakes and that in order to grow, we must accept our failings in an imperfect World.
Five of the songs are written by Celia Woodsmith and she co-writes on another two, with Kimber Ludiker contributing two songs and one co-write. Advocating for women’s rights is a worthy activity and with these songs of different female perspectives they are certainly championing the rightful path on their journey.Their goal is to spread peace and understanding through music and in showcasing female musicians, they preach action through advocacy, mentorship, programming, and performance. This is a very enjoyable album and builds upon the momentum and success that this band has experienced over the last few years.
Review by Paul McGee
Bonny Light Horseman Self-Titled 37d03d
The band name is taken from the traditional song of the same title and this performing collective is comprised of Anais Mitchell, Eric D. Johnson (Fruit Bats The Shins, Vetiver and Califone) and Josh Kaufman (Craig Finn, Josh Ritter, The National). An unlikely partnership on the surface, but one which works beautifully and seamlessly across the ten tracks chosen for this collaboration.
All songs are based in the old traditional Folk history of the British Isles and beyond. The airs and melodies are used as a creative inspiration for the three artists to embellish and add contemporary nuance to the arrangements.
There is a finely woven texture to these songs and the interpretation of long loved ballads is very enriching, creating a special piece of work. The opening, title track, is a lament from the Napoleonic Wars and considered to be approx. 400 years old; timeless in its slow sorrow, with a repeat chorus and a high pitch to the plaintive vocal of Mitchell. Deep In Love has a message of loving and being vulnerable to pain, with the alto voice of Johnson hitting high notes to compliment the sweetly laid-back playing that accompanies the song. There is a nod in the lyric to the traditional song The Water Is Wide and the whole arrangement is beautifully understated.
The Roving is another traditional song which is quite beautifully delivered while the subtle guitar and piano interplay frames Mitchell’s soft delivery. It has been covered by other artists, among them Mary Black, and is a lament about love lost. On the superb Backwaterside, Anais and Eric share vocals and the folk infused arrangement is tinged with banjo, piano and sax, together with backing vocals from Jessica and Emily Stevely – a tale of lies and deception in breaking a young heart.
Magpie’s Nest is an Irish traditional song, given a modern insight and sung by Eric with such longing that you really do wish he could win the hand of the fair maiden. Lowlands has Anais and Eric harmonising around the lovely melody created by guitar, banjo, sax, harmonica and piano, all played with sweet sensitivity and dovetailing around the arrangement in gentle ripples. Mountain Rain follows with a sad tale of blasting rock in railroad tunnelling and the toll paid for such hard work with no pay worthy of the name.
Bright Morning Stars is a hymn to rural work and family. It is a Gospel arrangement with harmony singing. Final track, 10,000 Miles, is a wistful air and a song about leaving, never to return…
All the songs sound beautiful. Played with minimal backing and light touch – there is a timeless quality to them and it feels like they have always been waiting to visit with us. The purity in the sound does credit to the production of Josh Kaufman and justice is done to these songs at every turn. Jake Xerces Fussell delivered a similar moment in time with the release of Out Of Time last year, with a collection of traditional songs that he reworked and this is certainly a trend to be welcomed in the industry that instead of always trying to reinvent itself, could do well to visit what has been left in the past just a little more.
Working at a venue called The Funkhaus, Berlin, the trio recorded what would become the foundation of the album, featuring fellow artists-in-residence Michael Lewis (bass, saxophone) and JT Bates (drums, percussion) as well as Justin Vernon (Bon Iver), Aaron Dessner (The National), Kate Stables (This Is The Kit), Lisa Hannigan, The Staves, Christian Lee Hutson, and many other contributors. Leaving Germany with roughly 60-percent of a record, the band reconvened at Dreamland Studios in Woodstock, NY, in January 2019 to finish, bringing Lewis and Bates as well as engineer Bella Blasko and mixer D. James Goodwin along with them.
Anais Mitchell plays guitar and sings, Eric D Johnson provides acoustic guitar, 12-string electric guitar, piano, harmonica and banjo. Josh Kaufman plays acoustic and electric guitars, organ and piano. This is a complete joy and it will be a highlight in many lists come the end of 2020. Essential purchase.
Review by Paul McGee
Nadia Reid Out Of My Province Spacebomb
The title of the album may suggest some level of discomfort in the process of creating these wonderful songs, however, if anything, Reid appears to be more relaxed and very much in control of career trajectory than ever before.
The first thing that hits you upon listening to this third release is the superb production and the beautifully understated playing of the studio musicians. Reid’s sweetly reflective vocals are so inviting and seductive that from opener, All Of My Love, you feel yourself submitting to the hypnotic spell.
The lyrics are somewhat veiled and no doubt hide meanings that are personal to Nadia herself as this New Zealand artist relocated to the USA in order to bring this undertaking to fruition. The whole record appears to be a chance for self-reflection, looking inwards and also, externally, to define herself in the World. There have been changes, questions and shifting boundaries brought about by international travel and the distance created. The loneliness of separation is a message that I pick up strongly, if indeed there is an overall theme running through the ten song titles. There is also the sense of looking back at younger days and relationships, both with lasting memories and broken dreams.
All Of My Love has a slow tempo with an atmospheric mood and deals with feelings of love, commitment and being apart. High and Lonely has a simple guitar strum before the band joins in with that voice, both intimate and warm, and the swell of keyboards and muted horns, setting a relaxed rhythm that propels the song forward. Again, distance and separation are the main themes here.
Oh Canada is more up-tempo and swings along to a lyric about a relationship compromised by Nadia’s need to travel for her career; wanting a partner to join her for the journey. Restrained guitar lines underpin this song, along with subtle keys and brass. Heart To Ride is a mid-tempo acoustic number with gentle strings and guitar, producing a memorable melody against the message of missing someone.
For this record, Nadia travelled to Spacebomb studios in NYC with long-term music partner, guitarist Sam Taylor. They were joined in the studio by some top-drawer talent in Cameron Ralston (electric and upright bass), Brian Wolfe (drums) Daniel Clarke (organ, piano, and keys), and producer Trey Pollard, who arranged strings, horns, piano, and Rhodes. His deft hand on the controls gives the songs plenty of room to build their sweet sound.
Other Side Of The Wheel is a delicate longing for someone who is far away and feeling lonely. The essence of time is explored in the lines “We are looking at the same blue sky, How does it feel? On the other side of the wheel.” She also sings that “Time is cruel, Time is a healer.” Almost as if she is happy with a break from the intensity of a relationship where some perspective can be gained – “I feel free for the first time. I am lonely but it’s not for the last time. And we needed it a little too much, What a shame, To rush our love.” A terrific track with some stellar playing from the studio musicians.
Best Thing follows with a look back at younger times and memories of an old flame and the growth that came from their time together. I Don’t Wanna Take Anything From You has a slow tempo and checks into a moment of reflecting back and feeling change – perhaps some self talk?
The Future is a really excellent track that references her Mother and sister in a look at how the past and lessons learned can be an arrow into the future. Who Is Protecting Me is again, an engaging melody and a personal song revolving around feeling vulnerable and reflecting on her relationship with, perhaps a brother?
Final song, Get The Devil Out, deals with the destructive side of feelings and having self-doubt, but asserting that “I’m making friends with who I used to be” and realising that “They will never take it from me.” There is real beauty here and this album lays down a very strong marker for the year ahead.
Review by Paul McGee
Lazy Afternoon Almost Home Paraply
Gotland is a province in Sweden and home to the Folk sounds of Lazy Afternoon. This is their second album and the band are comprised of founding member Bo Ahlbertz (lead vocals, Irish bouzouki), Cristina Säfsten (lead vocals and acoustic guitar), Jörgen Ahlqvist (accordion and melodeon), Lars Johansson (bass), Pontus Nordborg (electric guitar and harmonies) and Stefan Magnusson (drums and harmonies). They are joined by Maria Nordseth on backing vocals and Mattias Svensson on drum and kajon (2 tracks).
There is a nice Cajun swing to the rhythm in Water, with the co-vocal of Bo and Christina working really well in harmony and the blues-tinged guitar of Pontus playing off the accordion of Jorgen. Make Love Real and Every Time highlight the clear vocal of Cristina and there is the hint of a Celtic tone in her delivery. The World Is Her Home bounces along even if the vocal delivery of Bo reveals the nuance of his accent. Sunshine has a cool Reggae groove with a fine vocal from Cristina and final track, These Words Are True, has a nice tex-mex swing. The twelve tracks are very well arranged and played by the ensemble and the production of Anders Nordh is alive and full of energy in the mix.
Review by Paul McGee
White Owl Red Existential Frontiers Hush Mouse
Singer/songwriter Josef McManus is the creative source behind this performance vehicle. The band also includes Kyle Caprista (drums), Gawain Mathews (guitars) and Leah Tysee (backing vocals). In the absence of any information regarding this release; who wrote what, who played which instruments and where the project was recorded, I must assume that McManus is the sole writer across the 14 tracks included here. He may well have also self-produced the whole project and these numbers fall very firmly into an Americana sound with a wave at Folk/Roots sensitivities along the way. Album number three, since his 2014 debut and there is already a fourth release due to be with us in Spring 2020.
The songs are interesting, with a variety that evades a defining, signature sound. The musicians serve the songs well and the understated playing on Good Morning Moonshine, See Through Me, Set Free and Love Her Still reflects the ease with which the melodies unfurl and linger. Starcrossed Lover and Everything But Crying are more commercial radio-friendly songs, while the Country sound of closing track, Wishing You Well, with harmonica and simple melody, compliments the previous song, Take A Good Look, - a fun take on the genre with steel guitar and shuffling rhythm. The overall production is sharp and there is lots of separation in the mix to highlight the different instruments.
Union Fight Song is a protest against Corporate greed and Big Business myopia with a promise that the common man will rise up to retaliate. I’m A Saint is a race to the end of the track in a Cow-Punk sprint, while the title track muses on the reality that nobody really knows what we are doing here and how we all have to figure out our purpose on our own. Fourteen tracks and just shy of forty-four minutes to find some hidden gems that reward the listener – there is much to enjoy here.
Review by Paul McGee