Brown Horse Reservoir Loose
Previously a four-piece folk band formed in 2018, Brown Horse original members Emma Tovell, Nyle Holihan, Patrick Turner and Rowan Braham were joined in more recent years by Ben Auld and Phoebe Troup to complete the current six-piece. With a core sound that reaches back to an earlier time and place, the Norfolk, UK band’s debut album offers a harmonised and edgy country rock sound.
The latest signing to U.K. label Loose, the album was recorded in just four days at Sickroom Studios in rural East Anglia, the studio being a large barn-like structure surrounded by fields and wetlands. With six songwriters in the band and years of collective songwriting to dip into, the final selection yielded ten tracks, several of which had been road-tested, honed and beefed up over the last few years.
Often reflecting an emotional and raw terrain, a dark melancholic theme casts its shadow across much of the material. Opening with the gloriously ragged Stealing Horses and closing with the quietly pulsing Called Away, they fashion a fusion of edgy alt-country and modern folk that recalls equally experimental bands like The Felice Brothers and The Wood Brothers. The sombre and brooding Paul Gilley reminisces on the often-overlooked country songwriter, whose songs Cold, Cold, Heart, and I’m So Lonesome I Could Cry were immortalised when recorded by Hank Williams. The instantly catchy Everlasting leaves the most profound impression, while the title track takes the listener on a moody cosmic journey.
Impressively blending a hauntingly lonesome sound with doleful ballads and more up-tempo rockers, RESERVOIR is an album that doesn’t slot easily into any single genre. There is no harm there, as it’s a fiercely intense suite of songs by a collective that possesses the credentials and capacity to establish itself as one of the leading lights in the U.K. rock scene.
Review by Declan Culliton
Glass Cabin Glass Cabin 2 Self-Release
Although they spent their childhood and teen years living close to each other in the Catskill Mountains in upstate New York, Jess Brown and David Flint never met until they both relocated to Nashville and ended up living on the same street. Before forming Glass Cabin both enjoyed and still have successful careers in production and songwriting. Brown's writing credits include country hits for Lee Ann Womack, Sara Evans, Trisha Yearwood, Tracy Lawrence and Julie Roberts. His songs can be found on over twenty-five million CDs. Multi-instrumentalist Flint founded the country rock band Billy Montana and The Longshots, enjoyed a decade as a touring session guitarist and has produced albums by Lonestar and Addison Johnson.
GLASS CABIN 2 follows on from their debut self-titled album from 2021. That album was fuelled by the downtime imposed on them by the pandemic, and rather than writing songs suited to the more commercial market to be recorded by others, Brown held forth on more clandestine and hard-hitting topics. Lonesome Highway described that album as 'Dreamlike songs of unease and unrest that play out like chapters from a Daniel Woodrell country noir novel.' This album is cut from a similar cloth, combining their writing, instrumentation and production skills with a collection of potent songs. Brown's grandfather's family were Appalachian miners who also ran moonshine, and his writing for Glass Cabin often explores the darker themes of those times from recollections related to him by his uncles.
The songs more than touch on self-examination (I Wanna Live, Travelling Man, Damn Myself) and Closing Down The Bars tell of the travelling musician's never-ending slog to survive. The broody Sam Shepard Play recalls mid-career Neil Young, and the mood lightens on the piano-led/rock-tinged I Don't Mind The Rain.
Co-produced by Brown and Flint, the former is credited as vocalist (including harmonies) and acoustic guitar, and the latter contributed all the instrumentation (guitars, bass, banjo, piano, bouzouki, keyboards, strings, lap steel, drums). Additional drums on two tracks, Closing Down The Bars and Weary Man, were played by Nashville session player Andy Hull.
A fitting heir to its predecessor and a profoundly satisfying listen, GLASS CABIN 2 explores the subjects of pain and perseverance with a most impressive fusion of alt-country and folk.
Review by Declan Culliton
Shirley Hurt Self-Titled Melodic
Toronto-based singer-songwriter Sophia Ruby Katz's (professional name Shirley Hurt) debut album was shaped during a six-month journey across the US and Canada in a camper van with fellow artist Harrison Forman (Zones, Hieronymus). Recorded at Joseph Shabason's (War on Drugs) studio in Toronto, the nine-track album was self-produced by Hurt. It follows the best part of a decade on the industry fringes for Hurt that included an electronic project under the title Ferrari Garden, her ambient recordings as Sifra Rifka and a number of stalled musical projects during that often-nomadic period.
Introduced by her father at a young age to post new wave artists such as Tom Tom Club, Laurie Anderson and Nina Hagen, those influences are close to the surface on MELODIC, not unlike the output of similarly minded artists such as Aldous Harding, Sharon Van Etten and Aoife Nessa Frances.
Given her nom de plume, you would expect that her writing is directed towards self-examination. The opening lines on the album's first track, The Bells, would support this ('My life is like a koan, it's designed to make me break'). Still, elsewhere, her poignant and haunting lyrics invite multiple interpretations and are brought to life by a spacious and otherworldly soundtrack. It's not a listen that's likely to connect on the first visit, and attentive listening is the order of the day for the maximum return. The richness in Hurt's vocals and the supporting, often melancholic instrumentation unfolds on each subsequent hearing. Let Me Down Easy runs the emotional gauntlet, complete with a smoky saxophone break, and Problem Child's protagonist could be the author or an imaginary character. Other highlights are the rhythmic Empty Hands and Charioteer, a mid-tempo meditative reflection.
Settled in rural Ontario, close to family and friends, Hurt is preparing her second solo album. In the meantime, dive in and enjoy a collection of songs that refuses to be framed within any one genre.
Review by Declan Culliton
Myriam Gendron Not So Deep As A Well Basin Rock
The New York author, poet and satirist Dorothy Parker was part of the American modernist movement that arose at the turn of the 20th century and spanned both world wars. In her role as a staff writer with Vanity Fair and Vogue she developed a media profile as an acerbic commentator on contemporary society. She also wrote for the New Yorker and Life magazine but her activities as a social activist for change and her political leanings were not always so well received at the time.
On this album, first released in 2014, Myriam Gendron, a Canadian musician, has taken some of Parker’s poems and interpreted them with musical accompaniment. The results are very rewarding and the quiet intimacy of the eleven tracks leave a lasting impression. The songs are focused upon love and the tangled relationships that can ensue from the lure of seeking out the perfect partner. Mostly the poems are somewhat caustic in their view of romantic love and the myth that it can be a panacea for everything. Ultimately, perhaps, we are destined to live alone with our thoughts and our longing, as the final song The Small Hours suggests.
Gendron is a very accomplished guitarist and her fingerstyle playing is a highlight throughout. There is percussion on two songs but it is minimal, and a quiet keyboard sound appears in the background on another, making this home recording a special moment in the timeless feel of these interpretations. Threnody is a lament and the sense of loss is palpable in the words. Solace speaks of fresh fields and new opportunities in love, no matter how great any potential pain, and Recurrence confirms that relationship breakdown is a given.
It may not be a popular notion, but moving on appears to be the default position in these poems. The title track is a beautiful instrumental piece and this reissue includes two additional songs that were not on the original album. If you enjoy Folk music played in a gently creative style and if the words of the poet Dorothy Parker resonate with you, then this is an ideal purchase.
Review by Paul McGee
Brian Kalinec The Beauty Of It All Berkalin
This album represents a third solo outing for Brian Kalinec, a Texan singer-songwriter who is the co-owner of Berkalin records, a label which is home to a number of Folk and Americana artists. In addition to his own releases Kalinec recorded an album with his friend and fellow artist Kj Reimensnyder-Wagner whom he has also toured with across Europe in recent years.
This album has fourteen songs that play out over fifty minutes and the challenge in putting so much music on a single release is not repeating yourself and over-cooking the whole project. In this case Kalinec steers clear of any such pot holes and delivers a very brightly produced album that is engaging on all levels. Producer Merel Bregante delivers a fine open sound that allows all the musicians free expression across the range of instruments that colour the song arrangements.
Bregante also plays drums and percussion on the album in addition to backing vocals and he is joined by a fine group of talented players, including Pete Wasner (grand piano, synths, fender Rhodes, accordion, Wurlitzer, Hammond b3), Rankin Peters and Mark Epstein (bass), Patterson Barrett and Dave Pearlman (pedal steel), Cody Braun (mandolin, harmonica), Michael Dorrian (acoustic and electric guitar), Madelaine Herdeman and Dirje Childs (cello), James Rieder (chamber strings and double bass), and a number of different backing vocalists, with Sarah Pierce most featured.
The songs are very much in the arena of contemporary Folk and the title track starts things off with a reflection of living each day to the full and enjoying the moment ‘I want to feel the sunlight’s kiss as I raft upon the river, I don’t want to miss the beauty of it all.’ The album continues with Big Hearted and a wish that we could all try to live with generosity and openness in showing each other more love ‘What if we showed up for each other, Took that chance? Showed a little love for each other, Just because we can.’
Another song titled Two Roads ponders on the different paths that people walk down on their separate life journeys. Sometimes these connect, cross over and influences each other ‘Two sides of a coin, One road leading somewhere, Another heading quickly to an end.’ Redwood Fence examines the issue of racial inequality and bigotry and the words resonate in the message ‘Just how long does it take a man to learn, That fear is just a hollow alibi.’ The theme of growing old and losing loved ones is at the centre of Fix-it Man and the need for acceptance in what life gives us along the way.
Other songs such as Next Door Stranger, Overcommitted and The Wind look internally at issues such as self-doubt, fears, the things we do for living and the little lies we tell ourselves. The final song River Of Kindness brings a strong message of optimism in these times of global warming and civil unrest, with the words ‘It’s a river of comfort, Washing over the pain, One heart to another, a hand for a brother, Ray of sun through the rain.’ Rather than think it could all be just some hippie dream there is real conviction in the positive message and a prayer for universal awakening. This is a very accomplished album, beautifully performed by the musicians and a real achievement for Brian Kalinec to be proud of.
Review by Paul McGee
Wendy Webb Silver Lining Spooky Moon
Eleven songs and forty-plus minutes of superbly crafted music from an artist who has been releasing consistently strong music since 2003. Wendy grew up in Iowa where she learned piano and guitar before moving to Los Angeles, and later Nashville, in building her career and getting comfortable with her inner muse. Her debut, MORNING IN NEW YORK was followed by MOON ON HAVANA (2009) and EDGE OF TOWN (2011). Further releases THIS IS THE MOMENT (2015) and STEP OUT OF LINE (2017) enhanced her international reputation and led to greater awareness of her growing influence.
Now based on the island of Sanibel in Florida, Wendy lives a creative life surrounded by what inspires her and the results are evident on this beautifully realised album. Co-production by John McLane and Danny Morgan is superb and both also join Wendy as musicians. She recorded her vocals and piano parts in a live setting while McLane provided strings, horns, drums, bass, organ, accordion, electric and nylon string guitars. Morgan added his talents on bongos, acoustic guitar and percussion, with a guest appearance from Cowboy Eddie Long who played dobro on one track.
Wendy delivers heartfelt, soulful vocals on songs like Timeless Love and Rhythm Of Your Love while the Bossa nova groove of songs like Old Blue Panama and I’ve Never Been To Argentina add great colour to the texture of the album. The laid-back delivery on the seductive Jasmine Nights is a joy and the positive message of Blue Skies On the Way is a balm to the soul in these troubled times with a strong message that only love can provide enduring hope and joy in the world, something that is also echoed in the title track, providing an upbeat reminder that ‘Love goes on and on, ever shining.’
A song in tribute to her father Children On the Blue is wrapped in a slow tempo and a sweetly soft melody reflecting on the strength of family ties across the miles and the passage of time. Wendy’s vocal tone is beautifully warm and nuanced in delivery, at one turn echoing the resonance of Carole King and at another reflecting the joy of Norah Jones in full flight. Her talent is of course all her own and the strong musicality running through these songs is something to treasure on repeated plays. Another example of the great talent and seasoned musicality of this fine artist, Silver Lining comes highly recommended, as is the entire back catalogue of Wendy Webb.
Review by Paul McGee
John Jenkins Tuebrook Self Release
This is the eight album from Liverpool songwriter John Jenkins who has been creating consistently fine music since his debut record appeared back in 2013. He also co-hosts a local radio show that plays Americana, Country and Folk music at The Garden Party. There is no doubting the talent on display and his musical sensibilities are finely honed over years of immersing himself in the traditions of song craft and creativity.
There is a real intimacy at play here and his warm vocal tone is perfectly aligned with the sense of times past, regrets registered and hope for the future in these songs that capture the vagaries of daily living. Tuebrook is in the North-East of Liverpool and the district has seen much change over the generations. This is a love letter to the past and the memories of youth are perfectly captured on Christopher Roberts a song to an old school friend that fell out of contact over the years. The story song 43 and Counting is both poignant and sad in capturing feelings of being left alone by a lover who has moved on to a new life. ‘And I feel so old, Silence has spread through this house and my soul.’
The gentle sway of A Child’s Sense Of Wonder is similar in tone to the Stranglers song, Golden Brown as it plays out a tale of innocence and holding back the impending weight of adulthood and lost dreams. William is a song that honours a childhood friend and his sad demise from addiction as an adult. It is a beautifully written and sensitively delivered snapshot of a past that cannot be cocooned from the colder reality of growing up and facing our differing challenges and demons.
The musicians include John Jenkins (vocals, piano), Jon Lawton (programming, bass, guitars, lap steel, percussion, keyboards), Pippa Murdie (backing vocals, guitar), Chris Howard (keyboards) and an assortment of original tape recordings from childhood that include family members and friends. The final song Mr Ford’s Hardware Store includes a recording of the infants choir at “Our Lady, Star of the Sea” School in Seaforth, Merseyside and it recalls the local corner store that had everything stacked perilously high in its inventory.
As a project, this is certainly up there alongside anything else that Jenkins has produced, even if the temptation to create a full concept album was passed over as some of the songs are not rooted in his local neighbourhood memories. Both Idaho and Passing Time are further examples of story songs that echo a similar writing style that finds a place on previous albums. She Feels Nothing examines that sense of having to go into self-protection mode in a relationship that could not deliver on dreams of wanting more.
Maybe I Just Came Along For the Ride has a sad realisation that commitment to anything comes at a price that not everyone is able to pay ‘ I was always by your side, even when you weren’t there, Maybe I just came along for the ride, Expecting you to care.’ The opening song Shadows reflects on change with the lines ‘how can I be part of something that ends in despair.’ However, much of the album is anything but downbeat, more a nostalgic visit to a past that strengthens the resolve to keep moving forward in search of new experiences and building upon the durability forged in the past.
Review by Paul McGee
Lady Apple Tree Self-Titled Self Release
This debut EP from Californian artist Haylie Hostetter was released in September last year and is just one example of the fine music that can sometimes slip between the cracks and miss out on greater media attention. The eight tracks included are beautifully arranged and delivered in a very pastoral Folk sound, wrapped in gentle melodies and sweet instrumentation. The album was produced by Will Worden at a studio in the Santa Monica canyons and a sense of idyllic isolation carries through into the sound. With just shy of thirty minutes, the songs leave an impression of wanting to hear more from this interesting musician.
There is a sense of innocence in the songs and the opener Round and Round delivers a nursery rhyme for adults with repeated lines sung on overlapping vocal harmonies to bring a depth in the delivery. The loss of innocence and corruption of youth haunts on Silver Hands even if the outcome is a new baby and life reborn. The Country feel of the title track comes courtesy of some nice pedal steel parts and the song celebrates the bountiful gifts that nature can bring in the simple joy of an apple plucked from a tree.
Flame has an addictive doo-wop feel and a swing to the tempo that celebrates the passion felt in a romance rather than the memory of having lost in love. The very enjoyable and creative use of pedal steel on the song And There She Was is memorable and the lonely feeling of leaving a lover is captured on Midnight Oil to great effect.
The musicians deserve great credit for delivering such a well-constructed album and the lingering melodies stay with the listener long after making their mark. The studio players are Haylie Hostetter (lead vocals, harmony vocals, rhythm guitar, tambourine), Will Worden (acoustic guitar, harmony vocals), Connor "Catfish" Gallaher (electric guitar, pedal steel guitar, dobro), Cameron Knowler (acoustic guitar, mandolin), Casey Nunes (bass guitar), Ryan Miller (drums, percussion), Hunter Watts (backing vocals). Worthy of your time and a strong marker for more to follow from Lady Apple Tree.
Review by Paul McGee
Jesse DeNatale The Hands Of Time Blue Arrow
Album release number four in the career of this Californian singer songwriter. He has an easy way with a tune, a turn of phrase, an observation on the beauty of it all and something of a guarded acceptance for the failures that can still haunt. Overall there is an overarching sense of optimism running through and the sense of humanity is never far from the message of live and let live.
The title song is a highlight and speaks of enjoying the rollercoaster ride that we all purchase a ticket for in life’s fair ground. Streets Of Sorrow deals with the frustrations that we all can feel with the ways of the world but councils that we keep persevering, with some great guitar playing to keep us on track. The Hat Shop delivers an easy groove and some peace of mind while Station Master looks back upon a life lived as if in a dream, a goodbye to a loved one I suspect. Trying to turn back the clock and correct the mistakes of the day is partly the message in Stop The World a song which also touches upon the finality of gun violence and a search for answers.
These songs were recorded in 2022 at Bird & Egg Studio, Richmond, California and the co-production team of DeNatale and fellow musician Nino Moschella proves to be a winning team. There are fine melodies that permeate the song arrangements and the seamless playing is very enjoyable over the ten tracks included. The full line up of players is Jesse DeNatale (vocals, acoustic guitar, piano, keyboards, harmonica), Tom Heyman (electric guitar, pedal steel), Paul Olguin (bass), Nino Moschella (drums, bass, electric guitar, organ, mellotron, vibraphone, glockenspiel, backing vocals), and Alisa Rose (violin). There is a special appearance from The Zemlimsky Quartet on the final song Late September and it celebrates the seasons as a circle and a dance of the light in the world. There is much to enjoy on this album and it comes recommended for those who enjoy the craft of the seasoned songwriting.
Review by Paul McGee
Brown Horse, Glass Cabin, Shirley Hurt, Myriam Gendron, Brian Kalinec, Wendy Webb, John Jenkins Music, Lady Apple Tree, and Jesse DeNatale