On ‘The Change‘ Austin Coleman finds himself halfway between Jason Isbell and Fleetwood Mac (post Peter Green, prior to eviction of Lindsey Buckingham). ‘The Change‘ has a dreamy countryesque feel, perfect summer listening as the heatwave continues. It’s taken from his album ‘Long Mile From Home’, which is due out in August. It was recorded at The Vault Recording in Marietta, Georgia using vintage instruments and running tracks through old tape machines, to help create the nostalgic feel which Coleman was seeking. Job done.
After contributing to the sunny, catchy pop of The Lighthouse and the Whaler, singer-songwriter Steven Diaz relocated to the Research Triangle in North Carolina – an area covering three counties in the north-central part of the state that includes the capital city of Raleigh as well as Durham and Chapel Hill. The area is a perfect marriage of college towns and progressive tech/urban chic surrounded by miles of Piedmont farmland (once dominated by tobacco) and beautiful, deep woodlands. Continue reading “Mountain Lions “We Are” (Independent, 2018)”
On July 1, 1968, The Band’s landmark debut album ‘Music from Big Pink’ seemed to spring from nowhere and everywhere. Drawing from the American roots music panoply of country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, hymns, funeral dirges, brass band music, folk, and rock ‘n’ roll, The Band forged a new style that some argued changed the course of popular music. Fifty years later, the mythology surrounding Music from Big Pink lives on through the evocative storytelling of its songs including “The Weight,” “This Wheel’s On Fire,” “Tears of Rage,” and “To Kingdom Come,” its enigmatic cover art painted by Bob Dylan, the salmon-colored upstate New York house – ‘Big Pink’ – where The Band wrote the songs, and in myriad descendant legends carried forth since the album’s arrival. Continue reading “The Band’s “Music From the Big Pink” gets 50th anniversary re-release”
If this review were being written by one DJ Trump then you’d hear how this was an all time record crowd for The Horn, which is a pretty unsubtle way of trying to soften the blow that the music room at The Horn was at maybe five per cent of capacity for Thomas Wynn and The Believers, and less for the opening acts. Which is – putting it mildly – a shame as opener Pat Dam Smyth deserved more. Playing solo electric guitar to accompany his songs of full of regrets, bad luck and bad decisions, the Northern Irish singer-songwriter showed himself to be cut from a Cohenesque cloth both with his mournful growling baritone and the bleak outlook of his lyrics. Continue reading “Thomas Wynn And The Believers, The Horn, St. Albans, 26th June 2018”
Twenty years is a long time away from making music to feel the urge to start over again. West Yorkshire based, Welsh born Watson has done just that. Brave. Here she presents a simple, uncomplicated set of five folk meets Americana compositions. Just vocals and acoustic guitar. Nothing here for the artist to hide behind. The opening, titular song is a happy-sad ode to her children. Despite some rudimentary production and occasionally faltering harmonies, it’s quite charming. Continue reading “Sarah Watson “A Mother’s Guilt” (Independent, 2018)”
Can it really be fifteen years since Tuung formed? Can it really be eleven years since the full original line-up recorded together ? Apparently the answers are yes and…yes. Well, this is the second single from ‘Songs You Make At Night‘, and Sam Genders has expounded on what it all means: “Crow was inspired in part by Max Porter’s book ‘Grief is the thing with Feathers’ which I loved. In the song the Crow represents all the good and bad that life has to offer. The love of old friends and the seeming cruelty of fate right there in the mix with everything else, giving us what we need to grow and become who we are.”
The new single from UK-based Trinidadian poet Roger Robinson is a delightful summery sound that we like very much. It’s taken from the third in his series of EPs, available on Bandcamp in all the usual formats.