Our latest Short Cuts, a monthly feature where AUK casts a brief eye and ear on several albums we’ve received recently, which just didn’t make the cut for a full review. Like most major music websites, we can’t mention every album or EP we get sent, but we reckon the picks below deserve a nod. Click on the links to hear a song.
This month we feature artists from all over the globe, proving that the americana scene is alive and thriving, and we are the fortunate beneficiaries of all this creativity. In the busyness of daily life, it’s a good reminder to slow down and spend some quality time with some wonderful new music. First up, ex-Viarosa frontman Richard Neuberg returns to recording with his debut release, The Vine, a stylistically cohesive set of eleven exquisite tracks occupying a space where words and melodies dance around each other in perfectly choreographed arrangements. It’s an immaculately crafted piece of work, beautifully textured and compelling, with a meditative quality to the songs. Opener, the hopeful Everything Dark is Light, glides on a gorgeous melody, awash with intricate acoustic guitar and fluttering strings. Neuberg’s softly sung vocals are complemented by some ethereal backing vocals sounding like a distant choir at times. It all adds up to create a slightly ominous atmosphere, and the mesmerising sounds and soundscapes he produces provide a rather spellbinding effect on the listener. The pattern continues as the album progresses, one impressive song after another, and it’s hard not to become completely immersed in the music being performed. The otherworldly Crow Needs The Pine sounds like a Grimm’s fairy tale set to music, Neuberg’s voice evoking a sense of foreboding, while a gentle guitar pattern and skittering strings rise and fall around him; dark and captivating at once. By the time the haunting Weed Out The Vine closes the record, with its almost hymn-like delivery and tender vocals, Neuberg has clearly succeeded in creating a rich body of work, atmospheric and enrapturing, with melodies that sneak up on you from out of the darkness. A remarkable and rewarding musical experience.
By way of Holland, Grapes of Grain release their excellent new album, A Muted Hey, their fourth, and third in four years, of melodic roots music, striking a nice balance between alt-country and indie-folk rock. This recent burst of creativity hasn’t dulled their ability to write great melodies, paired with sharp lyricism and intertwining harmonies. The breezy folk-rock of the cleverly titled There Are Too Many Words In This World exudes an easy-going vibe, while things kick up a notch with the upbeat The Resolution, teeming with sunny harmonies and a catchy, incessant guitar riff that imprints on your mind. Amidst the brisker numbers are some truly lovely moments such as the affecting Leaves, an absolute highlight. It’s a poignant, piano-led ballad with a divine melody, delivered gracefully. A little later comes Try To Explain, a moody number that rides on a wave of psychedelia with some atmospheric electric guitar. Coming Back Home 2U is a cheery-sounding, jangly gem with some stellar acoustic and electric guitar interplay, adorned with rippling mandolin, banjo, and harmonica, giving it a traditional, rustic feel. The album ends triumphantly with the slightly ragged Weight of the World, evoking a classic americana sound reminiscent of The Band, embracing heavenly harmonies, faux carnival sounds and even some whistling. It’s a fine finish to the album and further proof that the band’s melodic and songwriting skills remain fully intact. Highly enjoyable.
Los Angeles-based Freedom Heartsong returns with The Revelation of Freedom Heartsong; a stirring blend of melodic, cosmically inspired folk-rock delivered with boundless passion. His infectious energy is contagious and helps propel the songs beyond the retro influences that permeate many of the tracks. Indeed, a classic 1970s folk-rock aesthetic prevails, which suits the songs just fine. Stylistically, there is much to like here, and the album wastes no time in establishing itself. The ebullient Don’t Forget To Live begins the album in grand style with its bright vocals, briskly strummed guitars, and positive affirmations. Shooting Stars incorporates some subtle psychedelic tones and features some lovely, warm guitar tones that complement the soaring vocals. The soulful Think, with its humming organ, is anchored by a southern rock groove, while the riff-heavy So Close, So Far coasts on an infectious melody and some stirring vocals. He adds a personal touch to a couple of covers, including a dreamy version of the iconic Old Man where he even manages to out-hippie Neil Young. In fact, the vocals on some tracks occur slightly lower in the mix, creating a slightly surreal, ghostly effect which works perfectly well in this context and adds a dash of psychedelia to the proceedings. On the brief album closer Cloud Dancer, he fittingly channels the spirit of Jim Morrison, another artist known for putting everything into his songs and performances, sounding every bit the shaman in the process. It rightly concludes an album that feels like driving down the Pacific Coast Highway with the top down, with the ocean breeze blowing through your hair. A rewarding listen, it’s a dazzling display of virtuoso musicianship and top-quality songwriting; blissful folk and roll.
Up next, Manchester’s Grain Electric offer up their eponymous debut, a fantastic collection of classically crafted country-meets-pub-rock tunes. Footloose and fun in its approach, it’s an exhilarating romp through the back alleys of americana, littered with broken bottles, busted hearts and bad decisions, but delivered with wit and charm. Certainly, the band benefits from having three exceptional singer-songwriters, unique in their individual styles, but bonded by a love and feel for classic country rock. For fans of pedal steel, the songs are awash in it, blending effortlessly with the exemplary lead guitar runs of Jamie Fildes to create a sound uniquely theirs. Across eleven tracks, the band enthusiastically offer plenty of twang and upbeat rhythms, offset by the occasional country-tinged ballad. The album is quick off the mark with the rollicking Losing Streak, featuring a soaring melody and some sweet pedal steel flourishes mingling with electric guitar, confidently backed by a solid rhythm section that propels the music. It’s a strong start that aptly highlights the band’s dynamic chemistry. The soulful Why Can’t Love Play By The Rules, written and sung by Stuart Warburton, conveys the band’s instinctive feel for a timeless country sound with its convincing vocals and impressive playing. I Don’t Care leans into rockabilly territory with some stellar electric guitar playing and the inclusion of dobro and harmonica, carried by a lead vocal that harbours just enough heartache and regret in its delivery to authenticate the lyrics. They show off a country-folk sound on the lovely Somehow, replete with some wistful vocals and mournful pedal steel. Overall, it’s a gratifying set of well-written, excellently performed, slice-of-life songs; the sound of five musicians who clearly enjoy making music.
Connecticut singer-songwriter Erik Rabasca delivers his solo debut New Scrolls, a collection of eight roots-based songs that, from the start, make it easy to become immersed in the words, wrapped up in the gritty warmth of his voice and the straightforwardly arranged, country-folk stylings of the melodies. On the surface, the songs feel familiar, but on closer listen, it’s clear he possesses a writer’s eye for detail that really makes them stand out. It’s a wonderful work of music that fluctuates between the bare acoustics of the soulful Better Than What You Gave, to more fully fleshed-out numbers such as the lilting folk-rock of Love Resounds. The buoyant opening track, Wise Up, is an uplifting, lyrically astute number that suggests the best of the folk troubadours with its tasteful, well-played lead guitar runs dancing over a fluid bass line. The song is one of several that act as cautionary tales, including the melodic Foolin’ Yourself and the bluesy Ritual, Lies and Sin addressing current affairs, but without any pontificating, just thoughtful, incisive observations. Elsewhere, as on the majestic Come All Ye Faithfull, he finds room for some guarded optimism, aided by some lovely backing vocals. Recorded live and featuring the Connecticut Hope Collective, the spiritual, gospel feel of the final track, Try A Little Kindness, provides a perfect showcase for Rabasca’s rich, wholesome voice and an opportunity to conclude a perceptive and thoroughly enjoyable album on a hopeful note.
Texan Tony Kamel returns with an intimate live recording, Live From The Bunker, an instantly appealing blend of acoustic folk and blues showcasing his innate skill on acoustic guitar and banjo, as well as his authentic vocals and storytelling. The generous album length means that Koller can include many songs from across his catalogue, as well as covers by Johnny Paycheck and My Morning Jacket. For a live album, it’s warm-sounding and intimate, as if recorded in your sitting room. The low-key aesthetic suits the performances perfectly, showcasing Kamel’s wonderful storytelling and stellar playing. Slow On The Gulf features some nimble fretwork, coupled with Kamel’s clear, passionate vocals with just a hint of grit, like dirt on your favourite pair of boots. Torture of Love, replete with tongue-in-cheek lyrics, shows off his vocal range and clean picking, while the lovely Who Am I Kidding displays a folkier, sensitive side to his playing. Elsewhere, the banjo comes out for a few numbers, including a full fret work-out on All Around This World, proving Kamel is equally adept on this instrument as he is on the guitar. The Surfer is a soulful recollection of a meeting of a real-life character, infused with some delicate acoustic guitar and earthy vocals. Kamel is a highly talented guitarist and vocalist, and with this solid collection of songs deeply rooted in the acoustic blues tradition, he’s delivered an album that is really quite terrific.
Next, Australian alt-country singer-songwriter Jeremy Beggs offers up ten splendid new tracks from his debut, The Long Road. The songs are a satisfying blend of warm-sounding acoustic instrumentation, juxtaposed with gritty electric guitar and occasional adornments of steel guitar, organ and even horns. Led by Beggs’ strong, earnest vocals, the ten tracks comprising the album range from more rockier numbers such as the opening track Been Looking For with its upfront electric guitar, to more introspective acoustic numbers such as the country-shaded Consider Me, laced with weepy steel guitar and a heartfelt delivery. Indeed, Beggs’ voice is of equal stature to his impressive songwriting; soulful and expressive, the thread that holds the songs together. The rustic Outlast is a fast-paced rockabilly-leaning number with some phenomenal lead guitar, while the melodic Signal Me In is catchy folk-rock, bolstered by some lively organ underpinning the track. The album ends with the soft country strum of Worn Hands that highlights the warmth of his voice and underscores his ability to create a nicely crafted blend of literate songwriting with tasteful, rootsy backing. An artist definitely worth watching out for.
From Bellingham, Washington, Jenner Fox & Jeremy Elliott return with their sophomore album, Beauty in Strange Colors. A quiet, gently paced album, it contains eleven, minimally arranged acoustic-based gems delivered with Fox’s impactful vocals. Recorded live in the studio, the relaxed atmosphere suits the songs well, giving plenty of space to the stories being sung. The lyrically and harmonically gorgeous Easy Tiger starts things off on a strong note. Behind gently strummed acoustic guitars and featuring additional vocals from Stephanie Walbon, Fox’s relaxed, reassuring vocals ease the listener in and provide the template for what follows: a set of warm, understated folk songs. Throughout, the production is crystal clear, allowing for every little nuance to be heard. The subtle country feel of Smoke In The Summer Sky is one of many highlights on the album. It’s waltz-like arrangement, interweaving acoustic guitars and a beautiful blend of voices singing about finding hope and solace in dark times: “For there’s beauty in the strange colors / It’ll stop you right there in the road / As the sun it rises and hovers / Shining through a haze of smoke in the summer sky“. Apples From The Tree follows and acts as a sort of companion piece with its theme of finding beauty in the darkness. Interspersed throughout the album are some lovely instrumentals, including the brief but engaging Lines and the Django-influenced rhythm of Clementine. The album closes with the pristine Song For Gail, a poignant character study that segues into a pretty instrumental coda; a transcendent end to an outstanding album that supports the adage that less is often more.
Celebrating forty years as a band, Canada’s Skydiggers present their latest release, West Montrose, a compilation of original and traditional folk and country songs performed in a stripped-down acoustic setting. Founding members Andy Maize and Josh Finlayson are joined by Blue Rodeo/Sheep Dogs wunderkind Jimmy Bowskill on various stringed instruments, and Jessy Bell Smith on additional vocals. The band have been doing this for a long time, and their chemistry is clearly evident on these acoustic reinterpretations of some of the most popular songs from their vast catalogue. They lovingly return the songs to their core essence, no embellishments, just a couple of voices and guitars and occasional mandolin. It’s a refreshing take, and the format allows them to breathe new life into the songs without ever taking away what made them special in the first place. Opening track Alice Graham, an original song written about an early ancestor of Maize, makes for a perfect introduction to the project. Sounding uniquely like the Skydiggers, it conjures up a traditional feel in both its lyrics and arrangement. An excellent song, it’s both gentle and welcoming with heartfelt lyrics and some intricate fingerpicking. Indeed, it’s a credit to both songwriters that the originals slide in seamlessly with the featured traditional and cover versions. Finlayson shares vocal duties with Maize and takes the lead on the traditional Dark Hollow, as well as a fabulous cover of Steve Earle’s The Mountain, where Bell Smith joins them on the chorus, the three voices rising in unison in perfect harmony. Alberta is given an absolutely lovely rendition; forlorn and emotive, an album highlight among many. Such is the homespun, rustic charm of the band that they are able to convincingly make Buddy Holly’s Well Alright sound like a traditional folk song that doesn’t feel out of place among the other tracks. It’s a track they’ve been playing for forty years and, as such, a very fitting way to close the album. On the whole, it’s a beautifully crafted album played with passion and conviction and a timely reminder of just how good a band they continue to be.
