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)”
Something a little left field for the middle of the week
Lisa Bastoni has been around a while, performing with acclaimed artists such as Little Big Town, Lori McKenna and Regina Spektor. After taking an extended break to have a family, she is back with this amazing record, due to be released early in 2017. With every song penned by her, and a few co-writes, this is a record with the Bastoni stamp all over it, and with much of the recordings being done at home as well as in studios in Nashville and New York, there is a very intimate feel to this record, helped by the excellent production by Felix McTeigue. Continue reading “Lisa Bastoni ”The Wishing Hour” (Independent, 2017)”
The second full length alum by Vancouverian David Simard is a dark toned thing. Mordant meditations on love to a funereal accompaniment are the grist that fills David Simard’s mill. So much so that when he deviates from the template – as he does whilst rapping BP on the knuckles for their polluting ways in his native Canada on Good Clean Water – it’s something of a jarring shock that he can be so jovial. For the rest of the album he adopts a sombre and serious facade – with a deep baritone pouring the words out like a treacle river falling over a grit stone waterfall. Continue reading “David Simard “The Heavy Wait” (Independent, 2016)”
News from Rolling Stone Country this morning and a good excuse to put a picture of Rhett Miller up: “”I’m good with God. I wonder how she feels about me?” So ends the chorus of the Old 97’s’ “Good With God,” the lead single from the band’s 11th album, Graveyard Whistling. Due February 24th, the album offers up another boozy blast of Texas twang, train-beat percussion and guitar grit from Rhett Miller and company, who recorded its 11 songs in the same border-town studio that spawned the group’s major-label debut, Too Far to Care, two decades earlier. Continue reading “Old 97’s record duet with Brandi Carlile – Listen”
“Avuncular” is one of those words that you didn’t know you needed until you learned what they meant, and then you’re just itching to use it, waiting for the right opportunity to drop it into a conversation. Derek Senn didn’t have to wait too long on his latest album of that title, introducing the figure of uncle Mike in the very first line of the very first song. It tells the story of an American coming of age that feels personal and universal at the same time. Continue reading “Derek Senn “Avuncular” (Independent, 2016)”
Something of a departure for Ms May and a fine one too.