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.
An assortment of fine albums from around the globe to recommend this month, and it’s fair to say that there is a little something for everyone. It’s always encouraging that with the volume of music being produced at any given time, artists are still able to find unique ways to express themselves and get their music out for the rest of us to enjoy.
On that note, we begin with a trifecta of excellent albums, beginning with the latest release from Ceretana, comprised of the duo Marty Moran and Chris Miignanelli, entitled “Champagne”. A partnership in every way, the pair handle all the songwriting and playing, as well as trading off lead vocals. The self-produced album features eleven wonderful songs of emotionally charged songwriting encompassing a range of themes and emotions, all buoyed by some wonderful melodies and a warm, rich sound. The musician ship is quite wonderful, especially the interplay between guitar and piano, as well as the compelling guitar and harmonica breaks. Described as Americana/indie-folk, the album contains affecting ballads like ‘This River’ that turn out brilliant turns of phrase like “In the hand-me-down / Second sundown / Of the endless / Ragged days / What was the something / That attuned you / To the timeless / Pitch of faith”. Other tracks, like the more upbeat ‘1000 Miles’ highlight their skill on a variety of instruments and earnest songwriting. An immaculate collection of songs that deserve wide attention, take a listen to the title track ‘Champagne’.
Next up , the talented Meghan Hayes returns with “Latecomer”, her first release in over five years. The Nashville-based singer-songwriter’s latest album, Latecomer, is rife with beautiful vignettes covering a range of themes from loneliness to hope and all points in between. Hayes has a poetic touch in her use of language and an astute eye for detail. The material is of a personal nature and the slight vulnerability that Hayes emits in her singing, along with the sympathetic, stripped-down acoustic backing, including dulcimer and some lovely fiddle by Fats Kaplan, lends credence to her sharply observed lyrics. This is a fine album by a singer-songwriter at the top of her game and well worth spending some time with. There are many highlights, but the lead track ‘Surprised‘ is a good a place to begin.
Lee Wylding, AKA The Far North, delivers an album of acoustic-driven songs that come across as big and bold. “Songs For Weathering Storms”, a collection of nine energetic originals, is a true DIY effort that sees Hayes singing and playing most of the instruments, apart from some tasteful fiddle that adds some nice textures to the songs, such as the jig-like finish to ‘Mountain Song‘. Wylding’s slightly raspy singing captures the sentiments of the lyrics perfectly and even with the prevalence of acoustic instruments, the songs are delivered with a sturdy folk-rock swagger. These are big sounding songs sung by a big voice and Hayes’ passion shines throughout on this release. Well worth investigating.
Employing a similar homegrown approach, Jaymes Macdougall releases “Sendup Of The Original“, a collection of songs written and played by MacDougall that were originally recorded on a four-track cassette, lending a distinct lo-fi feel to the proceedings. The songs range from acoustic-based slower numbers such as the delicate sounding ‘Forgive You’, to somewhat crunchier, more rock-oriented pieces like the irresistibly catchy ‘What You Wanted‘ and ‘What You Need’ which comes across as a long-lost Kinks track. The lo-fi approach and slightly off-kilter arrangements of some of the songs might not be everyone’s cup of tea, but a closer listen reveals that there are certainly some interesting things going on here; some oddly engaging songs unified by the indie rock vocal stylings of Macdougall.
Another release that falls under the category of something slightly different is the new album, “The Red Castle”, from English-Canadian songwriter John Southworth. A sombre, personal album with songs that deal with the grieving process and as Southworth adds, reflections on lineage, loss and time. It’s a quiet record, but one that becomes more rewarding with each listen. The singing, including some stunning harmony vocals as heard on ‘Moonball‘ and musicianship, is top-notch, and while most songs are either piano-led, there is an impressive collection of exotic instruments to be heard, such as a nyckelharpa and Portuguese guitar, which lend an air of unsettling grace to the music. An exquisite listen.
For something a little different, but familiar at the same time, Jeff Larson and Gerry Beckley, two seasoned pros who certainly know their way around a melody, release their self-titled first album together. Larson, a long-time Bay Area resident, has been recording and producing for many years, and Beckley is recognisable as one-half, previously one-third, of folk pop veterans America, but who also maintains a longstanding solo career. Indeed, fans of both artists will find much to like about this release. Uncannily, Larson and Beckley have similar voices which blend in perfect harmony. The lead off track essentially sets the table for what listeners can expect to hear throughout, smooth vocals over a foundation of slick guitars and keyboards. Songs like ‘Oh Wow’ and ‘C’mon Home’, are folk rock gems and should have you pining for the hills of California. Maybe a bit too glossy in places, but underneath the surface are some catchy melodies and delightful harmonies.
Lillian King’s debut album, “In Your Long Shadow”, is a collection of ten slow-burning songs that feature her rich, expressive singing, reminiscent of Joan Shelley. Ranging from sparse folk ballads to subtle full-band arrangements, it’s a medium-paced record with lyrics that focus on loss and grief. There’s nothing fancy here, only the tried-and-true approach of less is more where most of the songs feature guitar, bass drums and occasional keyboard flourishes, or a combination thereof. It’s an engaging record that holds many gems, like the haunting ‘Tiber Creek’, or the solo acoustic ‘Context’, which comes across as an ancient folk ballad, albeit in a contemporary setting. A solid release.
The remaining albums stick closer to the country and folk, singer-songwriter vein. The impressive “Hill Country Folk Music”, the fifth album from Texan Terry Klein, follows in the long tradition of other stalwart songwriters from that State. Produced by Thomm Jutz and recorded over four days this past summer, the album features a collection of eleven songs that instantly feel timeless, all anchored by Klein’s warm voice which land somewhere in the middle ground between country and folk. His keen eye for detail is apparent on tracks like ‘The Job Interview Song’ and ‘Hopelessness Is Going Around’, featuring simple, but wonderful musical accompaniment.
Drawing inspiration from many of the same storytellers, Tyler Craig releases his debut album of songs reflect his own experiences growing up in a small town in Ontario. The “Things We Carry” contains eight heartfelt songs performed in clear, straightforward delivery, a bit country and a bit folky. Like his inspirations, Craig relates concise tales of everyday life and struggles with simple, unadorned backing that doesn’t detract from his words. There are some charming moments such as ‘Love You In Silence’ that Craig describes as a reflection on love and the quiet ways it is expressed when the right words don’t come, as well as ‘Hank’s Waltz (The Dog Song)’ a sweet and tender lament written from a dog’s perspective that is bound to tug on the heartstrings of any pet owner. While sometimes veering towards standard fare, overall, there are some lovely moments.
Finally, we have A.P.Meister by way of Sweden. “Unspoken” is as bare bones as they come featuring Meister’s deep, gravel-throated singing – think Waits, Hiatt and Dylan on a good day – and nimble, finger-picked acoustic guitar, with some subtle electric guitar and harmonica backing. With no studio trickery to back him up, it’s up to the songs and delivery to handle the heavy lifting and they certainly do. Highlights include the sweet ‘Tiny Bird’ and the slightly more sinister ‘Digging For Gold’ where Meister’s captivating mix of folk and blues are on full display.
