EP Review - My Crooked Saint, To Kill A King

Written and published for The 405, here.

Having already made some small waves on the folk scene, thanks largely to their signing to legendary London label Communion, To Kill A King look set to make a name for themselves with their extremely competent EP called My Crooked Saint.

Hailing from Leeds the band did some early gigs at Communion and have since won praise from Zane Lowe among others. So what’s all the fuss about? Well we begin with ‘Bloody Shirt’ a stomping and upbeat tune that shows off the bands musicianship and the brooding voice of singer Ralph Pellymounter, which incidentally has got to be one of the best names I’ve heard in a while.

‘Wrecking Crew’ runs with Pellymounter’s moodier side and confirms this band have rock running through their veins as well as the folksier stuff, which have lead to the inevitable comparisons with Mumfords and Sons, Noah and the Whale etc.

Perhaps what makes To Kill A King stand out though is that they are keen not just to make a good song but to tell a story too. The band have talked about releasing four music videos to go with each of the tracks, where the same characters pop up and the narrative develops with each video. This approach goes some way to proving the thoughtfulness behind Pellymounter’s songwriting and how this band put songs together.

To Kill A King aren’t all doom and gloom though, ’We Used To Protest/Gamble’ is a joyous and multilayered number, the jangly piano really helping to lift this song to approaching anthemic territory. ‘Family’ is more stripped back but there’s still plenty of evidence of careful arranging and orchestration, perhaps why the Guardian dubbed the band’s music orch-folk.

To Kill A King have all the tools they need to carve out a name for themselves in the folk circuit as a band that offer little of what we know and like about the genre already, but with perhaps a little something extra.

Album Review -For Each a Future Tethered, Butcher The Bar

Originally written and published for Amelia's Magazine, here.

Butcher the Bar by Cheryl Windahl

Butcher the Bar's album For Each A Future Tethered is Joel Nicholson's second stab at this album malarky and if, as I suspect, this time he set out to create a collection of sweet and sunny folk-pop songs then he has succeeded.

There are a few artists that Nicholson in his Butcher The Bar incarnation brings to mind and many come from across the pond. His sweetly sung, breathy songs definitely evoke Elliot Smith but perhaps without the darker edge – from the amount of sunshine that comes bursting through the songs on this album it’s certainly difficult to believe that Nicholson is of a similar disposition to the late Smith.

Butcher the Bar by Emma Carlisle

Shoegazey ditties like Alpha Street West conjure Josh Radin or Jason Schwartzman’s band Coconut Records and there’s definitely something Eels-esque in the rousing Lullaby. As for a homegrown influence then you wouldn’t be far off if you imagined the best of Badly Drawn Boy’s back catalogue.

Butcher The Bar’s sound is quite a full one – layers of clarinets, keyboards, glockenspiels, trumpets, and guitars all pile up to make for some pretty hefty choruses. It would definitely be interesting to check them out at a gig to see if they can translate this big sound into their lives shows.

Inspiration for most of the lyrics seem to be taken from the every day with many tracks recounting little stories – including walks with loved ones, imagined romances and teenaged mums – giving the album a really lovely, personal feel.

Butcher the Bar by Natasha Hughes

Stand out tracks include Sign Your Name (“sign your name upon my heart for me”) and Silk Tilts, which will give anyone in need of a instant banjo hit a great deal of pleasure – just try not to continually misread and mishear the title, as I keep doing!

Giant with it’s refrain of “you’re my favourite, favourite one” is a good example of the material on offer here – it’s not complicated stuff, but it’s so sweet and backed-up by some pretty impressive musicianship. In fact most of the songs don’t surpass 3 and-a-half minutes so there is no hint that Nicholson is trying to do anything particularly wacky or experimental. For Each A Future Tethered is simply a collection of delightful indie-pop songs, and there is nothing wrong with that.

Album Review - I Want That You Are Always Happy, The Middle East

Written for and published by The 405.

In places this album hints at a change of track for Australian band The Middle East, and certainly there are more experimental sounds and sometimes just the bare bones of songs on I Want That You Are Always Happy, but just beneath the surface is a collection of achingly beautiful tracks. The sound might be simpler than their debut The Recordings of the Middle East, but this album will not disappoint fans of their previously more intricate acoustic sound.

First up and Black Death 1349 is a downbeat start but it’s a perfect introduction to Jordan Ireland’s voice, which is as bewitching a voice as I’ve heard in a long time and it’s this voice that still draws me to listen to Blood, perhaps their most well-known track to date, again and again.

The decidedly more chart-friendly Jesus Came To My Birthday Party is a standard in indie pop. I don’t know if the inclusion of songs like Jesus is a deliberate attempt at creating something more commercial or just a new direction the band wanted to explore? But it works – the song topped the charts in Australia as soon as it was released.

However, this is one of those albums that takes a few listens, perhaps because listened to together the tracks appear bitty and disconnected. At 14 songs, it’s quite a long album, which makes me think we could do without the more experimental tracks on the album – Mount Morgan and Sydney to Newcastle – that detract from the wonderful simplicity of the other tracks.

For those who are gagging for more of the pretty ditties that we heard on the first record, and it can’t be denied that this band can come up with the prettiest of ditties, there are plenty to choose from, including Land Of The Bloody Unknown, Dan’s Silverleaf, Months and the countrified Hunger Song and As I Go To See Janey.

The move away from the more complex, multi-instrumental arrangements of their first album has definitely landed The Middle East with more of a country vibe and they pull it off well. Americana is a common thread – Deep Water with its slide guitar and Ninth Avenue Revenue brings to mind the bluesy Ray LaMontagne – with their lyrics, “You say you can’t stop crying/ it’s just the power of the song/ riding along the midnight grass again”, it’s a potent combination and may well move you with the power of the song.

I hope The Middle East will find new fans with this release. Afterall since their debut in 2008 the folk scene has really exploded worldwide and anyone who is a fan of the likes of Fleet Foxes and their banjo touting and ethereal-voiced contemporaries should certainly feel happy that they’ve discovered The Middle East.

I Want That You Are Always Happy is released on May 30.

Album Review - Screaming Is Something, The Travelling Band

Written for and published on Amelia's Magazine.

The brand new album from The Travelling Band features all the trademarks of a good folk pop album, including introspective lyrics, fantastic harmonies and, as no self-respecting nu-folk band would be without, banjos a-plenty. With their sound deeply rooted in rock, folk and country The Travelling Band’s second offering Screaming Is Something will please the ears of acoustic music lovers everywhere.

Illustration by Natasha Thompson, you can see her blog, here.

The Travelling Band hail from Manchester, so the group are joining the ranks of some pretty impressive acts including Oasis, Elbow and Doves – although they much more closely resemble the latter two of that particular group. The first single from the record, Fairweather Friends could well have been inspired by their fellow Mancunians, the layering of instruments, shimmering guitars and affecting harmonies create a ‘big’ sound a la Elbow, perhaps even X&Y era Coldplay.

You’re reminded of their heritage every now and then too, when a Manc accent sneaks in, such as on Horizon Me And You. This is a fantastic folk pop song and shows real promise in their ability to create a catchy tune and yet make it their own.

It’s Sundial that claims the prize for best track on the album though, and it’s a real highlight – anthemic but all the while remaining sweet, “If I had a home to call my own/ then I wouldn’t need a sun dial/ to stop me roaming around” – it’s calling out for a sunny afternoon at a music festival one day this summer, and it stayed on repeat for a long while before my housemates and neighbours tired of it. Just give it a listen and see how long you can go without humming the chorus.

Indeed the band are no strangers to music festivals and actually got their break by winning the Glastonbury Emerging Talent Competition in 2008 where they then performed – I for one, am sorry to have missed them. A homemade video shows the boys hanging out, enjoying the sunshine, and performing Horizon Me and You at The Park at Glastonbury last year (above). And what an idyllic scene, boys performing their pretty music in the pretty countryside, makes you proud to be British.

Tracks Under the Pavement and Hindsight are perhaps a bit confused – the folksier sound definitely suits this band more than rocking out to guitars, but perhaps live this would actually work better. All-in-all this album passes in a hazy stream of sunny guitars and lilting harmonies, the slower songs are perhaps slightly less successful than the more upbeat tunes, which is where the band appear to really flourish, but if you’re looking for a soundtrack to kick off your summer then The Travelling Band’s new album Screaming Is Something could very well be the record you’re looking for.

Illustration by Melissa Dow, you can see her website, here.

The album is released on the 30th May 2011 on Cooking Vinyl. The band kicked off a UK wide tour this summer with a gig last night at The Nest in London. Details of further dates can be found here.

Album Review - Skin & Bones, David J Roch

City Sessions_Film Two_David J Roch from City Sessions on Vimeo.

I was lucky enough to see David J Roch at the launch of exciting film/music venture City Sessions, which has been set up by the lovely Matthew Lawes (@mattylawes if you’re on twitter.) The video I’ve included is one of the installments from Matt and co’s City Sessions, check the rest out, here. Anyway, more about that another time, what follows is my review of Roch’s album, originally written for The 405, published here.

Say what you want about David J Roch but one thing is for sure; he possesses a pretty impressive set of pipes. Pretty outstanding actually, he can switch from bluesy baritone to soaring falsetto with not so much as a second thought – making his debut album one that can’t fail to make you sit up and listen.

The first track, ‘The Lost Child’ is as good a showcase of this as any. It starts quietly, just an electric guitar and Roch’s voice residing very much at the higher end of the scales – almost piercing, but as instruments join in so Roch’s voice warms up, leading to an impassioned chorus of “all I’ve got is love.”

Roch definitely appears to have adopted the wear-your-heart-on-your-sleeve approach to songwriting. For example, in ‘Hour of Need’ he sings, “I’m so ashamed of what I’ve done and yet so afraid of what’s to come, you gave me up to be lonely with another boy” – making for a heartwarming and honest listen.

The comparisons are many and varied; Damien Rice is one, and there’s something Michael Stipe-esque about his delivery in songs like ‘Bones’. British Sea Power also come to mind, so it’s unsurprising then that Roch provided support for British Sea Power on their most recent tour and I can only imagine won himself a few fans in the process.

‘Lonely Unfinished’ is especially atmospheric mainly because of the use of a church organ, “love is splendid agony” goes the refrain, like a tortured medieval lullaby, and Roch uses his higher range to perfection on this track.

‘Dew’ is reminiscent of some of the more recent sounds of say, Zola Jesus or Hurts both of whom manage to make current music with clear 80s and 90s influences – proof that Roch has more than one string to his bow. ‘Devil Don’t Mind’ harks to a southern gospel sound and Roch has admitted he is a fan of this style of music and indeed jazz. Of course, he has put his own slightly macabre spin on proceedings here as everywhere, which results in the killer line, “there’s no point in being well behaved, when you’re stood in your own grave.”

These gothic undertones are common throughout the album and Roch is clearly a bit preoccupied by thoughts and ideas surrounding mortality – ‘Bones’, ‘Skin and Bones’, ‘Devil’ – all are darkly romantic and yet thrillingly uplifting. ‘Skin and Bones’ has single written all over it – close enough to anthemic folk to perhaps permit it some serious radio time ala Mumford & Sons.

Album Review - Long Live, Snowblink

Written for and published on The 405.

Having already become firm favourites among hundreds of music bloggers everywhere, Snowblink’s full album is finally being released.

Snowblink, made up of San Franciscans Daniela Gesundheit and bandmate Dan Goldman, have produced a beautiful album in ‘Long Live’ that brings a touch of the ethereal to the increasingly popular folk genre. Providing a link between the nature-inspired lyrics of Fleet Foxes and the pretty vocals of Leslie Feist of Feist and Broken Social Scene, Snowblink are very ‘now’ but manage to be wonderfully nostalgic at the same time.

Gesundheit’s voice is really quite mesmerising and thankfully this voice is allowed to be the focus of every song on the album, indeed in parts like ‘Divining Rod’ it is all you hear. The songs might deviate in style – a hint of gospel in ‘Sea Change’, indie pop vibes on ‘Heckling the Afterglow’ and country on ‘The Tired Bees’ - but Gesundheit’s voice forges a close relationship between each and every one. Long Live is very much one whole rather than simply a showcase of fifteen disconnected but well written tracks.

'Ambergris' is the highlight of the album, finger-picked guitars and layers of lovely instrumentation make this song quite anthemic but in the most understated way. The song has enjoyed some popularity thanks to the internet’s capacity for sharing and helped along some way by the 70’s inspired music video, which shows the band in a hippy utopia, walking among wildflowers, complete with floaty dresses and frolicking children…sounds pretty good to me! By the time ‘Ambergris’ is nearing its end with the nonsensical refrain of “I hope you find your ambergris” it has crept all the way up to spine-tingling territory.

Snowblink’s first full album is essential listening for anyone enjoying the present folk music take over, especially those who like their folk with a country twist. Twinkling melodies and understated it truly makes ears happy, ‘Long Live’ Snowblink.

Live Review - Lissie/ Ramona, Heaven

Written for and published on For Folk's Sake

Lissie played a sold out gig at London’s Heaven, but not without the help of her trusty superglue. She followed a storming set from Brighton four piece Ramona, who were first to take to the venue’s lofty stage and provided a more than satisfactory warm-up for the powerful lungs of Lissie that were to follow.

It might be a lazy comparison, but the punk-influenced musical stylings, the blonde hair, and the pouty attitude of Ramona’s lead singer Karen Anne brought a young Debbie Harry to mind. Single ‘How Long’ was another nod to a punk era gone by: a perfectly modern take on the punk-rock sounds of the late 70s, it reminded me of the Undertones’ ‘Teenage Kicks’. With the addition of 90s classic Blue Boy’s ‘Remember Me’, the highlight of the set, Ramona proved that they are a group with many strings to their musical bow.

Then it was Lissie’s turn. The atmosphere was buzzing as this much-talked about musician opened up with ‘Wedding Bells.’ It’s often a worry that a much-hyped act will struggle to live up to expectations. This was certainly not the case with Lissie. Her powerful and soulful voice – whether she’s singing softly on ‘Bully’ or belting it out on her first single, ‘When I’m Alone’ – changed my cynical mind right from the start.

Appearing totally comfortable on stage, she told a bemused audience that she had to briefly stop the gig to get some superglue. “I don’t play with a pick, I guess I should learn. I actually have this long nail…” she explained to the thoroughly disgusted crowd. But after covering her fingertip with super glue, and as if to prove her method certainly works, she played a truly magnificent and heartfelt rendition of ‘Everywhere I Go’.

The band had chosen to cover Led Zeppelin’s ‘Stairway To Heaven’, as performed on Radio 2 recently, as the ultimate finale (especially appropriate at a venue named Heaven). Lissie and her band produced a particularly magical rendition of the rock anthem, that would have brought a smile to even the most hardcore of Led Zep fans.

Having listened to Lissie’s album I wasn’t quite so sure what made her stand apart from the veritable gaggle of girly singer/songwriters currently in vogue. Actually her album Catching A Tiger just doesn’t do her justice, her powerful and soulful voice is totally unique and definitely one to see live. Lissie is one of the best singers around at the moment.

Album Review - Timber Timbre, Timber Timbre

Written for and published by the ever so amazing music site The 405.

Album opener ‘Demon Host’ had already been around a good while before the recent release of Timber Timbre's debut album and had earned the band a number of fans among those who like all things American and blusey.

And 'Demon Host' did appear to be about as American as it could get. In fact the official music video (above) showed the man behind Timber Timbre, Taylor Kirk, sitting in a large countrified barn, picking his guitar, singing about God and repentance, and all in his finest Southern drawl.

So convincing is this stateside charade that it might be a surprise to find that Kirk is actually Canadian. Nevertheless Timber Timbre’s self-titled UK debut (Kirk has released two albums previously in the States) provides a journey through some of the best musical influences that America has offer. From the hillbilly ode of ‘Demon Host’ to gospel number ‘Trouble Comes Knocking’, where you don’t have to make a huge mental leap and you could be listening to the American-influenced rhythm and blues bands of the 1960s - we’re talking The Animals’ ‘House Of The Rising Sun’ in particular.

‘We’ll Find Out’ continues the decidedly gospel vibe, this time with Kirk’s deep and rich voice barely singing but instead talking, preaching even, “Do your actions mention your heart’s intentions? We’ll find out. Is your mind mistaken? Is your conscience not at ease? We’ll find out.” Indeed, although the musical styles vary from one track to the next, the common thread throughout are the dark and mysterious lyrics. There’s always an underlying threat of some sort, like in ‘Lay Down In The Tall Grass’, “In a late basement séance that brought us to tears, dreaming every night of you, I’ll be shaking at the sight,” there’s something very film noir about the overall feel of the album.

Other parts of the album, such as ‘I Get Low’ and ‘Lay Down’ sees the addition of some seriously gothic sounding organ chords that work well with the generally macabre tone. The pairing of this TV horror organ with twinkly piano notes and strings also immediately bring to mind the soul standards of legendary crooners such as Al Green.

‘Magic Arrow’ brings us up to date with an ‘almost pop’ feel – if you squint your ears you can imagine the likes of Brandon Flowers having a hit with this song. But with Kirk at the helm we have dirty bass riffs punctuating this track making it, well, pretty epic really. As in the rest of the album it is coloured with a feeling of menace - there is too much darkness for it to be a radio hit but it’s all the more interesting for it.

Interview - Jamie Ley

Jamie Ley - 'Goodbye' from Tommy Leigh on Vimeo.

Written for and published by fabulous folk blog For Folk's Sake

Emerging from London’s seemingly never-ending and ever-talented pool of wonderful folksy-types, Jamie Ley has been packing out a variety of the capital’s venues with people, all eager to hear his soulful and timeless tunes. Emma Barlow caught up with him to talk about the rise and rise of folk, his inspirations, and what the future holds.

FFS: Do you describe your music as folk? Or is it a label that has been somewhat thrust on you?

JL: I guess it is folk, but I don’t really think we are this or we are that. We usually get described as folk or nu-folk, it’s always got some folk in there somewhere. I don’t consider it anything I just consider it my songs played as best as we can play them!

London has become something of a haven for up-and-coming folk acts, who do you most admire?

Most admire…I dunno. I like what’s happening with folk and it’s exciting to be in anyway involved in it. I admire how massive and how mainstream Mumford & Sons are now. Like I still cant really believe it. Usually bands takes like 5 years to get that big. I’ve played with them in Cardiff and I know them. That gig in Cardiff – about 2 years ago, there were about 20 people in a room and now they’re headlining Reading or whatever. So I admire what they’ve done for folk – the fact that they’ve made people more aware and bought this kind of music to people’s attention. And they’re great musicians, really great.

I think that’s what people like because it’s less of the kind of manufactured pop music and more people on stage with cool instruments like the banjo and the mandolin making honest music and that’s what appeals, that’s what appealed to me about it forever and that’s what I think people are starting to see. And I’ve always admired Johnny Flynn, he was one of my favourite artists while I was at uni and now I’ve had the privilege to like play with him. Bands like that – I always thought they were cool are suddenly much cooler, which is good for me, so I’m a bit cooler now too!

So that’s you’re more recent influences what are some of your older ones?

Bloody hell! Well, obviously The Beatles, so boring! Have you heard of the band Love? Arthur Lee, he’s a bit of a legend, Bob Dylan. But my true greatest hero of all time is Johnny Cash. Yeah I love Johnny Cash. And also songwriters like him, I kind of aspire to be like Leonard Cohen. As a lyricist he’s incredible and his poetry… even the way he sings them…he sings them as the poems they are, which really appeals.

Okay, so what about the poets that inspire you?

Well I used to be into the Romantics, you know the Shelley’s of this world and the Dylan Thomas’s but I’ve recently kind of moved away from that, just because, you know, it’s healthy! I’m into a few German poets and writers – they have a theory about pure imagery and it’s less about words and more about telling things like straight to the point. It’s all about writing in a purist way rather than using fanciful words so yeah: I’m trying to do that with my songs.

Is songwriting something that comes easily to you then or is it really hard work?

Um…sometimes I can sit there for like a week and nothing will come out! Or even a month! And I’ll just be banging my head against the wall. But other times I can write three in a day so it just depends. It’s cliché but if you’re sitting there with your guitar and you just feel you’re in the zone, you’ve got your music mojo or whatever so it just comes out. That’s the time you’ve got to sit there and make yourself keep working at it because that’s the time that’s going to be the most fruitful.

Are you more at home with a band behind you on stage these days or do you miss going it alone?

Yeah at the moment we are doing kind of a mix. So we play three songs as a band and then I’ll do a few. Because there’s something really special and intimate when you’re on your own on stage with an audience. But personally I prefer having my pals around me on stage and I get more into it. Now I feel a bit naked when they leave!

And how did the current band line-up come to be?

I played some gigs in Steeles in North London because my friend Rodney Fisher, who is an amazing musician, he runs a folk night there. We used to have lock-ins and things and I got chatting with one of the barmen, Matt. We just got playing some stuff together and he ended up becoming my bass player and then he knows Jack our drummer from a former band. So we pinched Jack from his old band. Elena Tonra – we had played a lot of gigs together and got on well so she started singing and then we’ve got Bobby on piano, who is our newest sort of musical hero. So basically we just went pilfering from other people’s bands. But in a really charming way so no one seems to mind…yeah so, don’t tell anyone that!

So what can we expect from Jamie Ley, what are the big plans?

Well expect to see a release, quite soon. I’m doing my showcase on the 20^th October at the Flowerpot. So getting a lot of people down, lots of people that haven’t seen me who want to see me um….and hopefully that will be a great night and we’ll push on from there with a tour and a release and everything that follows.

The Low Anthem 'Charlie Darwin' review.

For those listeners who are currently enjoying the near tidal wave of folk bands that are spilling over into the mainstream on both sides of the Atlantic (think Fleet Foxes from over there and Mumford and Sons over here) will inevitably like The Low Anthem.

The minimal and acoustic production on ‘Charlie Darwin’ brings the band’s three unique voices to the fore. Really it’s these skilled and beautiful harmonies which steal the show on this particular track which stands out as the most mellow on their 2009 album, ‘Oh My God, Charlie Darwin.’

And ‘Charlie Darwin’ gives the listener a chance to reflect back on the folky sounds of old – there’s more than a hint of Neil Young in the guitar finger work, and the mouth organ and close harmonies certainly evoke a ‘Knockin’ on Heaven’s Door’ era Bob Dylan.

The sound is unmistakably American and will undoubtedly start cropping up all over any US show when a soundtrack is needed to convey the magic of a harvest moon spraying light over the cornfields of the Deep South...or something!

So then, ‘Charlie Darwin’ is not an example of some of the more forward-thinking progressive folk around but is instead a lovely track which attempts in it’s looking back to nod to some of the best folk-rock songwriters in history. Well worth a listen I give it 7/10.