Well here we are again dear readers. The lazy sun may require a little longer to rise these mornings while the arrival of dusks descends upon us with a little more stealth each evening, all signposting the shorter days and longer nights of the coming months. However, never fear, for you can wile away the dark hours engrossed in our latest ‘Monthly EP’s Round-Up’ feature, which this time round offers a fine mix of sounds and styles that straddles the americana music genre. So with no further ado, let’s get started:
To kick things off this month we have John Douglas and his new four-track EP “Still Or Sparkling”. Douglas was of course the founder, songwriter and guitarist for nineties Scottish indie rock band Trashcan Sinatras who enjoyed chart success with their first three albums. More recently his eleven-song eponymous debut album was released last year that revisited some of his old band’s numbers along with several new songs, garnering many positive reviews. This new EP finds Douglas in fine voice, his relaxing manner as engaging as ever, but where his debut album inhabited a very stripped-back acoustic ambience, here the arrangement works with a slightly broader palette, contributed by a selection of fine musicians, such as Alan Kelly on accordion, Kevin McGuire on double bass and of course Mrs Douglas, better known to many as Eddie Reader, on backing vocals. The title track opens proceedings with a gently sway against the percussive beat of snapping fingers that conjures up the faint echo of ‘King Of The Road’, while Douglas name checks folk icons Shirley Collins and Annie Briggs on a song that evokes the early days of he and Reader’s relationship. The melancholic ‘Lost’, benefits from some wonderful accordion playing from Kelly, before the highlight of the EP ‘Across The Bridge Where Angels Dwell’, with it’s gorgeous melody lifts the EP to another level, the harmonies between Douglas and Reader simply exquisite. The two minutes of ‘Johnsburgh, Illinois’, closes proceedings, laying testament to Douglas still being one of Scotland’s finest singer-songwriters.
Still or Sparkling? EP (2024) by John Douglas
Next up we have Worthing singer-songwriter Damon Brock and his second EP entitled “The Summer Of Our Content”, which follows quickly on the heels of is debut EP “Resolute”, that saw the light of day earlier this year. This latest release sees Brock continue to mix the sounds of indie folk and americana though here awash with more pop sensibilities. The opening number of this five-track EP, ‘Summer Days’, emphasises the latter with its eighties synth’ soaked arrangement reminiscent of early Duran Duran. Second track ‘Road’, leans closer to an americana landscape, with the country twang from the guitar and its punchy narrative creating a sound not dissimilar to Squeeze in their pomp. Elsewhere ‘Small Miracles’, slows the pace down with Brock searching for solace in the detail, while the melancholic ‘Last Chance Again’, with it’s more stripped back guitar and vocal arrangement is probably the jewel of the EP. With this second offering Brock clearly displays a strong ear for a melody along with arresting emotive narratives, however musically it tries a little too hard to cover multiple bases, and consequently, to these ears at least, lacks a clear sense of direction.
The Summer Of Our Content by Damon Brock
Montreal based indie rock band The Painters follow up the release last year of their eponymous debut album with a six-track live EP entitled “CJLO 1690 AM”. The title refers to the radio station in Montreal where the band delivered a more stripped-back, less studio-polished performance of five of the album’s strongest numbers along with one new track. Fronted by singer songwriter Alex Bourque and ably supported by Josh Boguski, Michael Halls, and Alex Lavoie, the band’s debut release boasted a delightful psychedelic mix of indie rock and folk that received a positive review from our very own esteemed writer Darren Lumbroso. This unfiltered live offering captures the band trading perfection for spontaneity, starting with the same song that opened the album ‘Sun Never Sets’, with it’s Byrds influenced jangling guitar intro quickly building into a bombastic homage to flashy virtuosity. ‘Somewhere’, remains the curio it was in its studio format, while new track ‘Rain’, sees Halls’ shoe gazing guitar playing skipping around Bourgue’s best Lou Reed vocal delivery. The total running time of the first three numbers manages to come in under seven minutes, highlighting the immediacy of Bourque’s writing, though next number ‘Kitchen Tiles’, breaks that trend as it takes on a much more atmospheric persona, shifting in moods from melancholy to guitar driven angst. The jagged guitar solo from Halls on ‘Breakin’ Up‘, delivers a sense of hippie surrealism that lifts the song to a new level while closing number, as it was on the studio album, ‘Rolling Thunder’, builds on it’s playful take on sixties psychedelia with fresh abandon. The six tracks here offer a fascinating interpretation of the band’s live sound but one can’t help but feel that the recording would have benefitted from a live audience which would have echoed and amplified the energy generated, which without, tends to render this offering a little sterile.
Next we have Irish born, raised in Australia, but currently now based back on the East coast of Ireland, Peter Baxter and his new four track EP entitled “The Dark Familiar”. Baxter has released three full length albums to date starting with “Since Then”, back in 1995, with a sound that oscillates between contemporary singer songwriter and a slightly more atmospheric take on Celtic rock. This new EP opens with ‘Where Do I begin’, with its strong percussive accompaniment and distorted guitar inhabiting a sound not that dissimilar to Runrig while the narrative wrestles with emotional confusion. Second track ‘A Thousand Dreams’, is a re-recording with new lyrics of a track that originally appeared on his sophomore album “The Miracle Bell”, in 1997. This new version features some delightful vocals from Leslie Dowdall of Irish rock band, In Tua Nua, along with some excellent lap steel from Isaac Tabor that helps create a slightly more americana vibe that leads nicely into track three. Baxter’s relationship with Gram Parson’s legendary track ‘Hickory wind’, goes back to his days growing up in Australia when it became part of his live set in 1995. During this period he had met and started performing with singer, mandolin and accordion player Steph Miller who joins him here for a respectful take on this classic americana song. The EP rounds out with ‘Running To The Ruin’, a brisk number with a strummed acoustic guitar punctuated by some soulful trumpet playing from Gary Alebrook as Baxter’s narrative addressing his past mistakes, though with “The Dark Familiar” one feels he has little here to address.
The Dark Familiar by Peter Baxter
As usual, I like to leave the EP that has impressed me the most until last, and to be fair, in a normal month, that honour could have fallen to a couple already reviewed. However this is no ordinary month, as with the new EP from Melanie MacLaren entitled “Bloodlust” we have an artist clearly destined for greatness. Nashville-based, by way of New York, MacLaren has up to now released two EP’s starting with “Kill My Time”, in 2022, with her sophomore offering “Tourist”, appearing a year later. In-between she formed the short-lived duo with Lorkin O’Reilly that released the folk orientated four track EP “Tadpole Emporium”. Now following a period marred by grief, loss, and illness she has returned with this stunning four-track release which opens with the title track that leans towards both Gillian Welch and Silver Jews in equal measure. Here her lazy vocal delivery is laced with attitude against a strummed banjo, and Pedal Steel that gradually expands to expose some subtle distorted guitar that delivers the cutting edge. On the second track ‘Get It Back’, she confronts the demons of her recent personal hell, cutting through the artifice of mythology and false glory to see things as they are and accept the reality. The narrative is achingly beautiful, full of visual snapshots all wrapped in the sweetest melody. The quality continues with the next number ‘Laika’, a gently picked guitar juxtaposes the darkness of the narrative with a swagger in the delivery that suggests Lucinda Williams as a touchstone. The rootsy indie folk of ‘Heaven Is’ closes the EP, its haunting melody betraying a narrative of existentialism with just a hint of acerbic humour. Every track here is an absolute winner, if you don’t believe me just listen to the track below, then I’m sure you’ll agree that Melanie MacLaren is a name we are all going to be hearing a lot more about.
