The cover image for Aaron Lee Tasjan’s latest release shows him sporting a two-piece suit entirely bejeweled with 10p-coin-sized silver sequins (or quarter-sized, in US coinage). Looking at this scaly, Stetson-wearing disco ball of a merman glisten in the sun, one can’t help but think “OK, this is going to be quirky. And not necessarily in a good way”. Fortunately, any suspicions of empty showmanship are dismissed from the very first moments of playback. The opener Hard Life is air-tight, with a 70s funky groove rolling slowly but assuredly forward, carrying playfully witty lyrics along with it. It sets the tone for the rest of the record nicely, “tight” and “70s” being keywords here. Continue reading “Aaron Lee Tasjan “Silver Tears” (New West, 2016)”
The first adjective that comes to mind when listening to The Most Ugly Child’s debut LP is simply “big”. The group is nominally a six-piece but with guest appearances that include a whole freaking brass band, they can make much more noise than their promo shots would suggest. And quite enjoyable noise it is too. Firstly, you have the songwriting, singing style, and nostalgic pedal steel tones that evoke the classic country of Buck Owens and George Jones. Adding to the controlled chaos is the earthy acoustic grit of dobro, banjo, and smashing fiddle breaks. Of course, one singer would not be enough for a band so clearly bent on laying more tracks, so leads and harmonies are traded by Daniel Wright and Stevie-Leigh Goodison. Continue reading “The Most Ugly Child “Copper and Lace” (Independent, 2017)”
Rarely does “Americana” feel like a more appropriate classification than it does for Adrian + Meredith’s “More Than A Little”. After 40-odd minutes of playing time, the sheer list of traditional American genres discernible makes one wonder how exactly does the Krygowski power couple manage to maintain a consistent and recognisable sound throughout. Between the album’s monochrome artwork, Adrian Krygowski’s punk upbringing, and the head-bobbing swagger of the opening Take A Boat, you’d expect you’re in for the nihilist-chic marriage of rockabilly and punk rock that makes you want to put Día de Muertos skull decals on your hot rod (should you own one). But there is so much more. Continue reading “Adrian + Meredith “More Than A Little” (Vertigo Productions, 2016)”
Martin Harley, globally established badass of lap steel guitar, and Daniel Kimbro, upright bass player whose gig, venue, and collaboration credits read like a folk fanboy’s bucket list, are back with a new album. “Static in the Wires” is mostly a bluesy affair, well balanced between electric and acoustic textures, with occasional spaced-out echoes thrown into the mix. Of course, it wouldn’t be a Harley record without some upbeat folky finger picking. Continue reading “Martin Harley and Daniel Kimbro “Static in the Wires” (Del Mundo Records, 2017)”
The debut solo album from Montreal-based Greg Halpin delivers exactly what its title suggests: slice of life observational songs recorded in a makeshift bedroom studio. The 13 tracks are arranged almost exclusively for acoustic guitar, alternating between heart-felt strumming and lively finger-picking. This instrumental austerity does get tedious at times. The odd harmonica or whistling solos aren’t enough to keep listeners engaged all the way through the longer compositions. Continue reading “Greg Halpin “Notes from a Bedroom” (Independent, 2016)”
This long-planned collaboration between two stalwarts of the London folk scene, Emma Tricca and Jason McNiff, delivered six songs that combine the feelings of melancholy and excitement one associates with travel. In case the imagery of trains and celestial navigation isn’t enough to send listeners on a journey, Tricca and McNiff namecheck New York, London, Paris, and Rome, letting their obvious affection for these cities shine through. Continue reading “Emma Tricca and Jason McNiff “Southern Star” (Dell’Orso Records, 2016)”
Devonian multi-instrumentalist Pete Falloon debuts as a solo artist with a satisfying album that’s all meat and no filler. ‘Reed in the River’ is an eclectic proposition that sounds folky in its acoustic warmth of mandolin and brushes on the snare drum (Paul Everest on drums) but also groovy with punchy bass lines and bongos.
Falloon’s previous collaborations include a duo with his brother, Mathew (appropriately named Brothers Falloon). Despite the new solo billing, Pete didn’t abandon him. Mathew is the bassist on the record and contributes so many other instrumentation and singing elements, that one can only imagine the brothers are musically inseparable. Continue reading “Pete Falloon “Reed in the River” (Independent, 2016)”