Norwich’s finest blast back louder and harder than ever.
Since their rapturously received debut “Reservoir“, Norwich band Brown Horse have been on a significant upward trajectory. One that shows no sign of fading with the release of follow-up “All the Right Weaknesses”. Back in the beginning, it seems likely that they settled on their somewhat prosaic name whilst still a four-piece folk-tinged outfit knocking around the pubs of their hometown. Indeed ‘Brown Horse’ sounds like it could have been the name of one of the pubs in which they cut their teeth.
This seems unlikely, though, given that the Brown Horse in Coley (between Bradford and Halifax) claims to be the only pub with such a name in the UK (though the Brown Horse Inn in Winster, Cumbria may cock-a-snook at such a claim). The Coley version is a fine traditional pub, imposing in its roadside location and impeccable in its delivery of superior quality though ‘bog-standard’ English pub food and ale. It may be basic in its offer, but it is significantly better than 90% of the competition and justifiably popular as a result. That they are not the only ones doing what they do does not diminish the love they receive one iota. And so it is with Brown Horse, the band, not the pub.
There appears to be two schools of thought concerning the band’s recent emergence. One has them as inauthentic ‘fakers’ making a watered-down version of American roots rock – a patently silly proposition. The second, majority view, offers them as almost the second (or maybe 22nd?) coming of that alt-country / Southern-flavoured roots rock thing. Comparisons abound, ranging from the obvious; Neil Young, DBT or Wilco through the less immediately apparent such as Lucinda Williams and Credence, to the well and truly leftfield – Wednesday and Silver Jews anyone? In truth, neither of these positions effectively reflects what Brown Horse deliver. The antecedents and associations of “All the Right Weaknesses” seem somewhat closer to home. Namely, the crunchy 80/90s roots-tinged UK indie rock thing offered up by such as Thrum, Steamboat Band, Whiteout, James King and the Lone Wolves or even elements of Primal Scream.
What all these comparisons seem to suggest is that there is nothing new or innovative here, and to a point, this is true. The LP is chock full of the tropes that embody this genre – the crunching guitars, the loose raggedy yet swinging feel of the arrangements, the freewheeling melodies and loping, raucous rhythmic propulsion, it all feels naturally unpolished yet at the same time assuredly well-fashioned. We must be careful not to ignore the axiom that it is not (necessarily) a bad thing to employ such tried and tested stuff that we know works and has meaning for people. In such instances, though context becomes vital, what is important is that they are used with honesty and care.
Some might (and indeed do) make claims for “All the Right Weaknesses”, serving up a unique combination of the tropes that make up this gig. But in truth, there isn’t really any such thing here, and the critical lens must therefore focus on something else – how well is all this done? What’s the energy like? How effective is it? – very well; thrilling; engagingly so – in that order. What really does set this record apart from many of its peers, though, is the breadth of influences and approaches on display here and the fierce energy and abandon that pervades throughout.
The sound the band conjures on “All the Right Weaknesses” is fuller and more robust than their debut. Some of the brittle starkness has gone, and in its place is a beefed-up, road-hardened sound that is borne of festival stages rather than pub backrooms. The speedy recording of the record gives it a freshness that is energised and energising, not forced or overthought. All of this tells of the band’s increasing confidence in both their vision and the effortlessly cohesive way in which they realise it.
Whilst the sound of the record remains vital throughout, lyrically there may be the occasional sign of a certain road weariness appearing. Throughout, themes of memory, loss, leaving and farewells seem at the front of the band’s concerns, with much of the writing offering a ‘small’ personal perspective on the minutiae of life, almost Calveresque in its matter-of-factness. When not deconstructing the intricacies of personal life, it is life in a band that comes under the microscope, and we could be forgiven for believing that they are not entirely enamoured with it. The title track bemoans the unwanted prominence of commercial over artistic concerns “I’ll take all the drinks/These tokens can afford/Cause then at least the music’s/Still making money for my landlord” and the songs key refrain of “Business doing pleasure with you” and ‘Far Off Places’ sounds perilously close to moaning about the life of a touring musician: “I write jokes for the broken-hearted/ Everybody’s gotta have some fun… Tried to get rich, but here I am instead”.
Oh well, far be it from us to begrudge them a lament or two when the overwhelming experience of “All the Right Weaknesses” has a profound magnetism that engages, excites and energises in equal measure. The broader palette on offer here suits them well and should continue to captivate their mullet-coiffed, baggy t-shirt-wearing core audience, as well as drawing more of us to their splendid celebration of the joys of raucous, rowdy, rocking country.
