A Lo-fi home-recorded treat from down under.
Brisbane’s Ethan “En” Kernaghan returns with his fourth solo album. Recorded at home, this is a lo-fi affair with a 1960’s feel and more than a hint of Eastern mysticism. The music is instantly joyful, and the collection lives up to its title.
Opening with Don’t Be Scared, we are straight in with a jangly guitar and a call for people to change their perceptions and not be concerned to show peace and love. Kernaghan’s joyous vocals proclaiming “Just a little loving in your heart could do it / I’m your fan / I’ll swing on your ceiling”, which is one of the many clever and humorous lyrics in the set. Unfortunately, not included, but search for the piano version of this online; it gives the song a whole new perspective, not necessarily better, just very interesting.
The music may give you a Last Shadow Puppets feeling, without the polished orchestration. Kernaghan claims that the album was “Home recorded in Brisbane, under a mountain of handmade, half-broken equipment and haunted cassette machines.” This certainly comes through in the music as you will find yourself wondering how Kernaghan managed to make certain sounds. For example, on the track Rag, there is an almost sitar feel to the instrumentation, but not quite, which must be where the homemade, half-broken strings come into their own. The Eastern mysticism is in full effect. There is a host of unworldly tunes which only add to the interest.
The tune Energetic Forces offers a change of pace, with a brooding drumbeat opening the song and a plaintive, weeping guitar. This all takes you back to the 1960’s in a major way. The ebb and flow of the music allows Kernaghan’s voice to float along, producing a soft, dreamy feeling.
Out is Through has an impressive hook, and the guitar takes the lead. “I grew gills from these pills / Then they gave me new pills” is another splendid line in this fascinating number. Kernaghan distorts the guitar midstream over the hook, making this one of the standout moments.
The record completes with the almost supernatural chimes on Trouble. The folk-like lyrics are woven in and out of the music, making for an impressive, albeit short, ending. Overall, it’s bright and accessible. The production is clear, allowing the vocals and wonderful guitar to shine through, along with Kernaghan’s weird and wonderful homemade instruments. It feels like he is having fun with his music and making art. The only criticism you could make is that the album is very short. Coming in at just short of twenty-three minutes, there is only one thing for it but to play it through twice.
Ethan’s uncle, Lee Kernaghan and grandfather, Ray Kernaghan, are both traditional country singers, and this is a long way from that. Kernaghan choosing to make his own way in his own inimitable style. Along with those ghosts in the machines, he is doing a fabulous job.
