Nels Andrews Pigeon And The Crow Self Release
Recorded at Whispering Pines Clubhouse/Studio in Los Angeles, PIGEON AND THE CROW is the fourth studio album recorded by Santa Cruz resident Nels Andrews. The album was produced by Irish composer and flautist Nuala Kennedy and her stamp is evident across much of the album as she plays flute, keys and adds backing vocals. A mix of folk and traditional music, the album emphasises Andrews creative song writing and relaxed vocals.
Andrews and Kennedy were in good company in Lord Huron’s Whispering Pines Studio in Los Angeles during the recording. The players included Quinn on drums, Pete Harvey on cello, Jonathan Goldberger on electric guitar, Stelth Ulvang on accordion and Sebastian Steinberg on bass. Completing the impressive contributors were Anais Mitchell, Anthony Da Costa and A.J. Roach, who all added vocals.
There is a distinctive Celtic feel to a number of tracks, hardly surprising given Kennedy’s input. The impressive title track in particular and Eastern Poison Oak both have strong roots in traditional music this side of the pond. Table By The Kitchen is instantly catchy, the blend of Andrews' and Anais Mitchell’s vocal on the chorus working delightfully.
Poetry put to music best describes the album. A pleasing and rewarding listen from start to finish, it’s an album that embraces the foremost elements of folk and traditional music.
Review by Declan Culliton
Trudy & Dave Out Of Our Minds Blue Moon
Another album that slots into the Nordicana genre that we have been dipping into in recent times. Trudy and Dave are Johanna Demker and Alf Bretteville, two artists that have released numerous albums in different projects over the years. Norwegian Alf fronts his own band Bretteville and Swedish Johanna has recorded five solo albums, together with songwriting and collaborating with various European artists. Having collaborated together in the late 90’s, they decided to join forces and combine their collective talents with this debut album under their recently formed project.
The duo’s name most likely originated from the John Hiatt song of the same name as the album closes with an impressive cover version of Hiatt’s Wood Chipper. In the main the tracks explore the grungier side of Americana. Full on rockers include the instantly catchy Force Of Nature and the driving 1000 Guns. Walk On Water is a similarly formulaic guitar driven anthem, well written and full of melodies and hooks and benefitting from their impressive combined vocals. However, it’s not all guns blazing and they take their feet off the accelerator for the more laid-back songs Space and Can’t Get High. Equally melodic is the gorgeous Loving Breeze with Demker taking the lead vocal on what is possibly the album's standout track.
The album offers a sound that leans more towards straight rock than Americana but it’s loaded with swagger and positive energy that beg to be played at maximum.
Review by Declan Culliton
Clem Snide Forever Just Beyond Thirty Tigers
Described by NPR as the most underrated songwriter in the business today, Israeli born Eef Barzelay formed the band Clem Snide in 1991. The name was derived from a character that regularly appeared in the writings of William S. Burroughs. Since then they have recorded fifteen albums. Without gaining much deserved critical acclaim outside their hard core following, they have disbanded and re-formed, with Barzelay taking time out to record two solo albums during this time.
Further turmoil followed, a broken marriage, the band breakup and bankruptcy may have resulted in the towel being thrown in for once and for all. Enter Steve Avett of North Carolina’s finest alt-folkers The Avett Brothers. Barzelay became aware that The Avetts had covered one of his songs at a recent concert and he took the opportunity of passing a song he had written to them. It transpired that they were fans of Clem Snide and a relationship developed.
Fast forward to last year and Steve Avett is behind the controls and producing what is possibly Clem Snide’s strongest body of work to date. That’s not to say that FOREVER JUST BEYOND is a change in musical direction, it’s not. Rather it comes across as an album by an artist whose confidence has returned in droves and with batteries recharged. The songs deal with dark times and self-loathing, but, more importantly, with re-birth and survival. Avett’s production always ensures that the lyrics are out in front, massaged often only by simple acoustic guitar and harmony vocals by Avett.
We hear of a broken relationship in Sorry Charlie, the meaning of life is contemplated on Easy. Undoubtably The Ballad of Eef Barzelay is the most personal and intense song he has composed. It recollects ongoing struggles with depression and suicidal thoughts, but also durability and acceptance.
The album is testament to the power of survival and rebirth by an artist that has lived through, and survived, troubled times. It may only reach Clem Snide’s audience but newcomers to Barzelay’s music would be well advised to also delve into his impressive back catalogue.
Review by Declan Culliton
Dave Favours and The Roadside Ashes Not Your Average Country Band Stanley
Well for a start they are an Australian band and that’s not entirely average but far from unheard of. Dave Favours by all accounts is a music man through and through, playing, recording, releasing as well as watching, listening and buying it. He grew up listening to country music, but it was garage and punk that first attracted his attention and energies. After a number of different directions and a couple of solo releases, he now fronts this band that are influenced by such acts as the Exile-era Rolling Stones through Steve Earle to the Drive-By Truckers. This Sydney based alt-country outfit have released an album of songs written by Favours (aka Forrester) along with a cover of the Beasts Of Bourbon’s I’ve Let You Down Again. The band is made up of Favours on vocals, harmonic and acoustic guitars with Dave Hart on bass, John Jensen on drums and Aaron Langman on lead and pedal steel guitar.
There is a pleasing roughness to this robust and roots rockin’ sound and that includes Favours' rough hewn vocals. The album opens in fine style with Happy Anniversary, a catchy track about change and trying find something that takes life out of a rut. It has a good hook and a strong chorus that sets the album up. Vanessa’s Day again has a strong chorus and some Hammond and pedal steel to sweeten the mix, as well as Favours’ harmonica textures. All of these elements are used throughout to enhance the bedrock rhythm section that underpins the sound. Part Time and It Rained are both songs that offer the trademark elements of the band sound, all working in its favour. There is a lot here to remind one of the cow-punk sound that held sway in the 80s in America - a sound that was, as mentioned earlier, influenced by EXILE ON MAIN STREET as well as by bands like The Backsliders and early Whiskeytown.
Producer/engineer Michael Carpenter gets the best out of these songs and delivers a robust sounding album that never loses its edge with over-production and polish. The scene in Sydney appears to be as small as it is in most cities outside of major centres like East Nashville and Austin. From their Facebook page there seems to be a number of bands and singers who form a roots community. Interestingly, Stanley Records released a three CD set Take Me To Town of Australian Alternative Country; so it would seem that there is a healthy scene down under too. Most are unlikely to be your average country band, but if they are like Dave Favours and The Roadside Ashes they are bound to entertain and engage.
Review by Stephen Rapid
The Gossamer Strings Due To The Darkness Self Release
What joy it is to discover a little gem like this! The Gossamer Strings are Liat Lis and Kyle McGonegle, who are partners in music and in life. They hail from Eugene, Oregon and they have produced a stunning album that could well have slipped under your radar.
The duo may be firmly rooted in the folk and old time tradition but they are simultaneously driving the tradition forward into the future.
Liat takes most of the singing duties, while also leading many of the songs with her expert claw hammer banjo playing. Kyle is equally adept on guitar, mandolins and bass, while harmonising sweetly. Somewhat unusually for the genre, their songwriting is as strong as their instrumental prowess, all the while addressing the perennial themes of love and relationship conflict. Kicking off with a plaintive gently paced country ballad She Can’t Hear Her Heart, Liat sings about a woman who is constantly on the move in order to avoid further heartbreak - “she can’t hear her heart ... but it’s better than knowin’, ‘cos knowin’ can hurt”. They are joined on this track by co-producer Billy Barnett on piano. In Everything Breaks, a lover describes why the relationship has reached the inevitable end - “I’ll clothe you in forgiveness, I’ll dress your wounds with care, ‘til you wear my generosity threadbare”. Billy Barnett’s piano underpins the moving Try Your Hand which eloquently explores how the pain of past heartbreak holds back future commitment, while Following Through also mines the same commitment issue. In addition to the eight original songs and one instrumental, they cover three ‘traditional’ songs (ie the writers’ names have been lost in the annals of time) Going to the West, Train on the Island and Sandy Boys. The production is very much of the ‘less is more’ variety and is perfect for the material.
Definitely worth seeking out.
Review by Eilís Boland
The Lonesome Ace Stringband Modern Old-Time Sounds For The Bluegrass and Folksong Jamboree Self Release
The Lonesome Aces have released yet another album that is essential listening for any fan of good folk music. In marked contrast to their last (equally excellent) offering, this time they have concentrated on interpretations of songs and tunes written by others, either quite recently or, more commonly, in the distant past. Self-produced and recorded mainly live to tape in their native Toronto, it captures their essence and their progressive approach to old-time string band music.
All three can take lead vocals and all three are masters of their instruments - Chris Coole on clawhammer banjo (and occasionally guitar), Max Heineman on bass and John Showman on fiddle. As well as their dynamic spirited playing, their three-part harmonies are unequalled, in my opinion.
There’s a version of the Stanley Brothers’ Stone Walls and Steel Bars which is very different from the original, particularly due to those harmonies. There’s a bluegrassy interpretation of the Marty Robbins classic Big Iron. Newer songs include Fool’s Gold from the pen of the late folkie Lhasa de Sela (Lilith Fair) and a beautiful rendition of Brennan Leigh & Noel McKay’s The Only Other Person in the Room.
My only minor quibble with the record is that the rendition of Hazel Dickens’ chilling song of lament/protest about the devastating miners’ lung disease Black Lung loses some of its effect by the jaunty pace at which they cover it. Regardless, this is a highly recommended album.
Review by Eilís Boland
Eileen Rose Muscle Shoals Holy Wreckords
Ok, let’s just get this out of the way from the start; every record collection needs a few Eileen Rose inclusions and this new album is a really strong statement from a singer-songwriter who has been forging quietly away over many years to reach the acceptance she now holds among her peers. Having grown up in Boston as part of a large Irish-Italian family, her debut album in 2001 announced Rose to the music media and five albums later her talents have blossomed to consolidate her reputation as a force to be reckoned with. Whether performing with her honky-tonk band, The Silver Threads, or as part of her current band, The Holy Wreck, she delivers Americana with such an assured artistic touch that cannot be diluted.
It helps when you engage a really crack band like The Holy Wreck and the impressive Rich Gilbert (guitar, pedal steel, Hammond, Wurlitzer) is joined by Steve Latanation (drums, vocals) and Chris MacLachlan (bass). They are a formidable unit and play with passion and great verve across the nine new tracks included here. This is a self-produced album and the cover shot of Rose outside the famed Muscle Shoals studios, with the address above her head, shows her in happy pose with a sunny smile.
Clearly Eileen Rose has been inspired by her surroundings and she comes out of the traps singing with a real conviction on the soulful She’s Gone. Bringing matters up a few notches are two great rockers in He’s So Red and Get Up. There is a cover of a King Crimson song (what, you say!) and Matte Kudasai slows everything down as she moulds the song into her own shape. Similarly, Am I Really So Bad? has a slow tempo and a resigned vocal from Rose while the melody drifts along with restrained keyboards.
On Shady Hill has a rockabilly beat and cool guitar break while A Little Too Loud gets us back to the rock sound and her great vocal tone. She can sound like Maria McKee occasionally in her phrasing and this is no bad thing as Rose really leads from the front on vocals, guitar, Wurlitzer and harmonica. The last two tracks are a change of gear with Hush, Shhh looking at small town issues with minority groups under the lamp, while Brendan Behan song, The Old Triangle, is given a new treatment, with an added verse – maybe she would have been better advised to steer away from this one!
Also included on this new release are a selection of eight older songs that were given a new coat of paint while the band were happily located at Muscle Shoals. Any number of songs across her body of work could have been selected and the inclusions here just whet the appetite to explore her back catalogue more closely. Joshua Hedley plays fiddle on Old Time Reckoning and other favourites included are Stagger Home, Good Man, Walk the Jetty, Queen of the Fake Smile and Shining. It’s a generous seventeen tracks in all on this new release that really makes a statement of exactly where this artist currently stands in her career – front and centre!
Review by Paul McGee
The Handsome Family Odessa/Milk and Scissors Loose
Originally released in America back in the mid 1990’s on the Carrot Top Records independent label, these two albums are finally given a full European distribution, some 25 years later, on the equally eclectic Loose record label.
It’s interesting to look back to the origins of this band and to the music that they were initially turning out. Husband and wife duo, Brett and Rennie Sparks, were living in Chicago and part of the vibrant underground music scene that exploded on the back of the cultural phenomenon that was Nirvana. The eruption of underground bands around the 1990’s gave many sideline acts the chance to express their energy through a new wave in genre hopping exploration.
The likes of Eleventh Dream Day, Tortoise and Liz Phair were among many acts suddenly given the opportunity to break out of the local Chicago scene and The Handsome Family also caught this wave. It was Alt. Country; it was Inde Folk; it was Country Noir – it didn’t matter how you tried to define it - this move towards a new sound and attitude. Indeed, it was just that, an attitude, the chance for artists to redefine music on their own terms and a confidence to mix Folk, Punk and a DIY approach that was a rejection of norms and an aesthetic that captured the energy of the times.
The offbeat lyrics of Rennie Sparks display a sense of the absurd in the minutiae of everyday living. Her skewed murder ballads mixed with imaginings of a dystopian society and the hypothesis of mother nature taking a kind of perverse revenge against all the excess in urban life. The loneliness of apartment living displayed against the freedom of the countryside and a wish to never be pigeonholed, in either musical terms or in social niceties, declared that the Family Sparks would become darlings of the fringe music scene. Although their home recordings would be refined over time, these two early albums show where the creative spark (excuse the pun) of the band began to take hold.
On the cover of the Odessa album is a picture of a poodle, being held by its owner and the domestic innocence of the image is juxtaposed with the sketch of a fox which appears on the inner gatefold. The safe, suburban feel of one against the more natural feral image of the latter. Something that the early music reflected with the juxtaposition between heavy and light threaded through the sound of tracks like Gorilla, Giant Ant and One Way Up. The opening track, Here’s Hopin’ is a sonic attack of fuzz guitar, á la Pixies, echoed by songs like Pony and Big Bad Wolf, in really letting their sense of alienation manifest through a cacophony of loud sound.
The band used the drumming of Mike Werner on the early releases and his percussion helped to fill out the sound of these songs. Against that, we are also treated to the simple Country arrangements of tracks like Arlene, Water Into Wine and The Last. Separately, songs like Moving Furniture Around and Claire Said have the feel of early REM about them.
The band would have provided the perfect soundtrack to a David Lynch film with their tension filled music, acerbic lyrics and uneasy demeanour. Dark messages in a crash of manic, off kilter tunes against the easy gentle sway of acoustic melodies. This frisson is hypnotic throughout and even if there are rough edges everywhere, it was no doubt intended to be that way. Never let the listener relax is what this music says, another twist in the tail awaits.
The second album, Milk and Scissors, a few years later, saw a big jump in the sound with the emphasis very much on a gentler Country palette, the same sense of the absurd and dislocation in the lyrics, but less of the ramshackle glorious mess of the debut release. What the band would become was starting to take shape with songs like Drunk By Noon, The King Who Wouldn’t Smile and Emily Shore 1819-1939 containing oddly sweet tunings and simple arrangements. Lake Geneva is a fine example of the creativity of the band and their playfulness around a Leonard Cohen song (Suzanne), with a tale about camping, the great outdoors and mental illness recovery. Other tracks like #1 Country Song and The House Carpenter (a Country Noir duet) pointed to the softer melodies that would colour their direction and The Dutch Boy and Tin Foil were other standout tracks on this more focused release.
Fifteen albums later, including compilations, rarities, demos, outtakes and live releases, the band stand as a beacon to independence and never compromising. Nobody ever sounded quite like them as they stood convention upon its head with their angular perspectives. It all started here and these are two essential milestones in the development of one of music’s most quixotic innovators!
Review by Paul McGee
Betsy Phillips Like We’re Talking Self Release
This 5-track EP is the second release from a very interesting artist who was born in Nebraska and has been living in Nashville since 2012. Her debut EP, More Like Home, emerged in 2013 with songs that pointed her in a promising direction. I am unsure what exactly has been happening over the last six years but given that these new songs were recorded at Goosehead Palace in Nashville, it’s fair to assume that Phillips is alive and well on the local music circuit there.
Producer Dan Knobler (Lake Street Dive, Erin Rae) does a wonderful job of capturing the sweetly sad vocals of Phillips and his contributions on both acoustic and baritone guitars blend seamlessly with the other guitarist Anthony da Costa (Sarah Jarosz, Joy Williams) and bassist Ethan Jodziewicz (Sierra Hull), both of whom play with understated dexterity and add plenty of subtle colour to these gentle tunes. Danny Mitchell contributes all keyboards including organ, piano, synth and Wurlitzer sounds with a less-is-more touch that compliments the easy flow of the songs.
The soft melody and arrangement of the title track reflects upon a relationship where the death of a partner is viewed through the eyes of the deceased, reflecting upon a sense of closeness that remains in the everyday. Yours To Forget is another love song but with a darker tale of loneliness and fragile feelings in a one-sided relationship. The slow tempo and wistful vocal are perfectly echoed in the inventive playing and superb musicianship.
Someone Like You is an up-tempo love song that dances along like sunlight on the water with a clipped acoustic groove and superb electric guitar lines from Anthony da Costa and/or Knobler (no liner notes accompanied my copy of the EP). We Don’t Stay is a slow melody and a memory of driving by the old family home and looking at childhood, the life both left behind and also freshly created by the new family that live there now. Seeds is a final look at the need to love again and putting down the tracks that hope runs upon in looking towards the future…
Phillips is joined on harmony vocals by Bobby Hecht, who co-wrote two of the songs. There is a credit on the back of the EP for another song, Sandhills, but this particular track isn’t included on my copy, so perhaps it was an extra track on the USA release?
Phillips is a part of the Tone Tree family where distribution is focused on creating the greatest opportunity for all concerned. Certainly, they have a real diamond in the creative talents of Betsy Phillips and this EP is hopefully a statement of real intent as she gathers momentum and moves forward.
Review by Paul McGee
new