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.
With autumn firmly holding us in its coolish grip, there’s no better time to slow down and curl up with some wonderful new music. Here are some new releases that we hope won’t fall off your radar. Beginning with Scott Cook, a veteran of the Canadian music scene, and his latest recording, the suitably titled Troubadourly Yours. Adopting a classic folk troubadour aesthetic, it’s an impressive collection of ten acoustic originals. The writing is sharp and incisive throughout, and the songs capture his warm, expressive vocals and storytelling beautifully. From the brisk and stirring opener, Troubadourly Yours, to the hopeful closing number, Something To Do With Love, the conviction Cook brings to his songs is inspiring. On Troubadourly Yours, the words come flying fast and furious as Cook relates his journey as a folksinger and some of the things he has learned along the way. It’s a remarkable opener, and Cook’s easy baritone and clear phrasing all but guarantee you will hang on every word. Keeping Good Company has an old-timey country feel that acts as a tribute to friendship, while the gently rolling Steady for You is a straight-up love song to his partner. Even on more subdued tracks like the enchanting There Is A River and the wonderfully revealing From Here On The Curve, he never fails to sound completely enrapturing. It all comes together on the sparse, ominous-sounding The Wolf That Wins, that begins with a warning based on an indigenous parable about the opposing forces of love and truth and hatred and lies, that turns into commentary on unchecked capitalism and rampant greed. Old-school storytelling with a contemporary feel, done extremely well. Surely, necessary listening for these times.
Eighteen albums into their career, it’s fair to say The Mighty Bosscats have more than paid their dues and, in the process, know a thing or two about making great music. Their latest release, the very enjoyable Normal, is a glorious, groove-laden infusion of Americana, blues, and rock, laced with some subtle country references. Led by singer-songwriter and guitarist Richard Townend, the album’s eleven tracks highlight some tight ensemble playing by the band, who intuitively know just what to add to each song. Beginning with the catchy, mid-tempo Mary Mary and ending with the poignant ballad In Your Name, the band deliver simple but nuanced backing that perfectly complements Townend’s earthy, relaxed singing. The slightly funky It Never Rains It Pours rolls out on a tight, swampy groove, punctuated by a rock-steady rhythm section, some soulful guitar, and impassioned vocals; clearly a band firing on all cylinders. For the most part, it’s an upbeat record with a couple of exceptions, including the gorgeous ballad Blue Is You. All in all, the band convincingly pull off a sound that comes across as vintage and fresh simultaneously, illuminated by a strong batch of songs and some standout performances. Delightful from start to finish.
Next up is Texan Leslie Waugh, who offers Night Bloom, a collection of ten tracks rooted in a traditional country sound, albeit with a singer-songwriter’s bent. Waugh’s writing adds a personal touch to the songs that frequently lean towards popular country music tropes of heartbreak and heartache, delivered with refreshing plain-spokenness and sincerity. The songs are adorned with classic country instrumentation and feature a notable group of supporting musicians, including Mike Stinson on vocals, as well as members of Band of Heathens, Asleep at the Wheel, and more. It all adds up to some sweet-sounding, lovingly executed country-folk. The lively Black Cadillac sets the tone with its rollicking beat led by some unfaltering lead guitar, followed by the more mid-tempo Troubles On My Mind, provide a solid start to the record. Pay Attention, featuring Stinson as co-vocalist, is a sweet-sounding country duet with each singer cleverly offering romantic advice and features some exquisite pedal steel from Lloyd Maines. To Be Poor is a pleasing folk-rocker infused with some lovely fiddle and mandolin interplay, while Stilstown is an alluring folk-inspired ballad. An easygoing sound predominates, and certainly Waugh possesses the musical talent to work all of her musical inspirations into her songs to come up with a sound uniquely hers.
Wisconsin singer-songwriter Nick Brown presents Short Long-Term Memory, a rootsy affair featuring songs that settle in nicely at the intersection of folk and country. At the centre of these songs is Brown’s wonderful voice, the perfect vehicle for transporting the songs beyond well beyond the glitz and glamour of mainstream country. Indeed, the arrangements guide the songs towards the best of the 70s country-influenced, singer-songwriter fare, without the maudlin strings, though something even the throwback-appearing album cover alludes to. To be sure, there are some fine songs to be discovered, including the loping country-folk of the title track, the dark-sounding Spirits Take The Wheel, and the folk-storytelling sensibility displayed on the poignant Center Line. Equally striking is New Sheboygan Blues, with its sweet melody veering toward cosmic country territory, enriched by some spirited musical interplay between the lead guitar, pedal steel, and piano. While guitars, bass, and drums are at the core of these songs, many are augmented by tasteful flourishes of keyboards, pedal steel, and subtle saxophone that add texture to the music and keep things interesting. Across ten tracks, Brown has fashioned a sweet-sounding, down-to-earth album that overflows with beautifully understated lyrics layered over a bed of simple but melodic songs. Definitely worth checking out.
Perhaps a new name to some listeners, Birmingham’s (Alabama, that is) Wilder Adkins presents the lovely Arms Reach, an album of quiet folk inspired by everything from Appalachian folk ballads to Indian devotional music, anchored by Atkins’ exquisite guitar with occasional flourishes of strings. From the start, it’s clear that Atkins has a naturally warm way with a melody, and the intimate arrangements showcase these beautiful tunes, allowing the music to shine, along with the clear, warm tone of his vocals. A quiet album, it’s an exceptional collection of folk-inspired tunes, full of heart-wrenching beauty. The delicately fingerpicked I Don’t Know What’s Wrong begins things in a low-key, unassuming fashion, led by Adkins’ vulnerable vocals. The waltz-like Still Holding On follows and is equally impressive in its scope and delivery. Featuring a sublime violin pattern and some lovely harmony vocals from Heather Hester, it’s an absolute gem, Adkins’ poetic musings floating ever so gently above the melody. Day Before Thanksgiving and Kirkpatrick Drive are brief spoken word interludes, but no less enchanting than the songs. Things come to a close with the optimistic Side By Side, a fitting end to an album that touches upon human experiences and relationships in a most graceful and empathic manner. An intimate late-night listen, that’s nothing short of radiant.
Australian roots-rockers Copperline release Sleepwalking, an impressive collection of catchy alt-country that highlights some top-shelf songs and impressive musical chops. Opener Sleepwalking sets things in motion in a relatively subdued manner: a gently strutting, mid-tempo number that mirrors the song’s sentiments of the lyrics. It doesn’t take long, however, for things to start cooking. The upbeat Fear Of Missing Out begins with some enthusiastic acoustic strumming before the rest of the band jump in and flex their country-rock muscles, laying down a steady groove. Elsewhere, the songs drift between the classic rock sound of Method To My Madness, traditional country on Lonesome Barstool Lady, the swampy blues-rock of Faint Praise, while the sentimental Hold You Tonight shows off the band’s quieter side. Overall, the album is packed with plenty of catchy, well-played songs and layered harmonies that display the band’s skill at pleasantly blending alt-country and rock to forge a distinctive and highly listenable sound that’s easy on the ears.
Hailing from Portland, Oregon, Rose Gerber releases her newest album, They Can’t Take the Music“, comprised of eight tracks steeped in alt-country, but veering into indie-folk and rock territory. A brief listen, it’s no less compelling for it, and Gerber’s smoky, seductive vocals carry the songs wonderfully. The arrangements are straightforward, fleshed out by some wonderful instrumental arrangements. The title track serves as a perfect introduction to Gerber’s impressive songs; a slow-burning number that really takes off as it reaches its conclusion. The upbeat, melodically pleasing Not Enough features more of her insightful writing, buoyed by a steady rhythm and a piercing electric-guitar solo. Big Blue Sky and No More embrace a more country sound, while the lilting Winter Rain is a delightful slice of folk-rock. The album’s most incendiary moment comes with the final track, No King, a scathing indictment of you-know-who with stinging electric guitars matching Gerber’s fury as she sings: “The hate machine is humming, heading into overdrive / Making money off of people’s pain and selling lies / Pretending to love freedom as they take it all away / Now’s the time to shout it while you’ve got the right to say”. It’s an inspiring number that’s more than enough reason to investigate this fine album.
From South Carolina, the husband-and-wife duo known as Admiral Radio offer Heirloom, twelve tracks of acoustic magic drawing on the traditions of the past but delivered with a distinct contemporary feel. What makes this album a real pleasure to listen to are the close-knit harmonies and assured musicianship that bring something special to the songs, giving them a real homespun appeal. Certainly, it’s a bright, clean sound, perhaps a bit too much at times, giving some of the songs, such as the opener Jackpot, a borderline mainstream country feel at times. Overall, though, the predominantly acoustic arrangements contribute to a timeless sound, sustained by some stellar acoustic string work and sweet harmonies. Standout tracks include the mandolin-laced Coal Mining Town, with its stirring vocals and dark, Appalachian feel; the graceful Sidewalk Preacher; and the easy country shuffle of Swoon, where their songwriting and vocal prowess are on full display. Elsewhere, they convincingly make Springsteen’s Dancing in the Dark their own, where their gentle harmonies and playing, including some divine fiddle, strip away the song’s pop sheen and turn it into a sultry-sounding country-folk ballad. Clearly, the two musicians are simpatico in their artistry, and it pays off in dividends on this album. A quality release: very listenable and enjoyable.
Uncle Lucius return with an expanded lineup and sound on the ambitious Open Eyes, Broken Heart, where their creativity and musicianship are on full display. Recorded mostly live over ten days in Texas, the resulting performances capture the energy of the band’s live performances, as well as the chemistry and intuitive playing by the musicians. Over eleven diverse tracks that move confidently through alt-country, rock, blues, psychedelia, and even Muscle Shoals-influenced soul, the band effortlessly capture a wide-ranging Americana sound that, to their credit, holds together well. Further, the album’s organic feel is aided by a strong collection of songs sung with real passion by Kevin Galloway in his distinct, soulful manner. Regardless of any familiarity with the band’s previous offerings, nothing quite prepares the listener for the blast of guitars that heralds in the lead track, The Bruxist. It’s a jarring introduction to the album and altogether captivating as the song slowly builds in intensity, propelled by groove-heavy rhythm section and a barrage of guitars. Its appealing grunge aesthetic feels overwhelming at times, but it certainly succeeds in capturing the listeners’ attention. By the second track, Scraps and Pieces, the band slows things down slightly and settles into a tight groove with a mesmerising bass line leading the way. Things slow down even further on the trippy, creeping As Above, So Down Below, replete with swirling organ and some soulful backing vocals in the cosmic spirit of Pink Floyd. And that’s just the first three tracks. Things settle down somewhat and revert back to a more traditional Americana sound on tracks such as the country-soul-coloured Say There Sunshine and the catchy, countryish Shadows Laid Bare. Rounding out the collection are two inspired covers: Robert Earl Keen’s Mariano and The Talking Heads’ City of Dreams, where the band do the near-impossible by making these well-known songs sound like one of their own, sitting comfortably alongside their originals. A stunning collection of music played with total honesty and conviction.
Wyoming’s Big Bob in the Sky release their self-titled debut album; a collection of eight tracks that blend the intimacy of a singer-songwriter with the full-bodied sound of a band. Immaculately produced so that every instrument matters, the band deliver melodic, atmospheric folk/alt-country, rich with intricate arrangements that are cinematic in scope that reveal a multitude of subtleties with every listen. It’s an expansive sound where the songs are given plenty of space to stretch out and breathe, all the better to get lost in singer-songwriter Rob Weimann’s intricate stories. The album is rife with great songs: standouts include the thoroughly engaging opener Hourglass, that begins as a quiet, folkish piece before patiently unfurling into a mid-tempo roots-rocker that features a dynamic mix of acoustic and electric instruments. The country-influenced Freight Train showcases some lovely fingerpicking and violin, while the upbeat On The Inside displays the band’s musical prowess, perfectly capturing their multifaceted talents. The engaging acoustic closer, Captain Jerry, veers gracefully into traditional folk territory, its gently lilting melody underscored by some sublime violin. Altogether, this is an engaging release containing a consistent selection of mellow, acoustic folk-rock, boosted by some fabulous writing and playing and delivered with laid-back charm.
