Will Oldham's new record, his fifth album of original songs as Bonnie 'Prince' Billy, has appeared without much fanfare or promotion. That's strange as it is the follow-up to 2006's exceptional 'The Letting Go' which was recorded in Iceland, featured some gorgeous strings and was possibly a career highlight.
On 'Lie Down In The Light' Oldham continues his recent trend of introducing a new singing partner on each album, this time Ashley Webber sings duets and harmonies with this. This is a much lighter record than 'The Letting Go', sounding more like a mix of the breezy 'Ease Down The Road' and 'Ask Forgiveness' the covers EP Oldham released last year.
Opener 'Easy Does It' is positively jaunty with a simple and joyful lyric to match. This tone continues for much of the record, with a prevailing feeling of confidence and comfort. Consequently the highlights are the two duets as they add an edge and a scope that is absent elsewhere. In particular, 'You Want That Picture' is wonderful, Webber's voice fitting in perfectly and an additional electric guitar make this, by some distance, the most powerful song on the album.
More duets with Webber would have been welcome, but she is mainly used for harmonies. This is a confident, assured record with some nice moments but it doesn't come close to reaching the heights of 'The Letting Go'.
7.5
Saturday, 24 May 2008
Wednesday, 21 May 2008
song of the day
Today's 'Song Of The Day' is 'Macosquin, Coleraine' by The Sleeping Years.
The Sleeping Years is the new project from Irish singer-songwriter Dale Grundle who achieved cult staus in the 90s as leader of The Catchers, a criminally ignored indie/folk band who made two marvellous albums and then disappeared. The Catchers made some beautiful music, 'Cotton Dress' was a summer-pop song of very high standing and 'Beauty Number 3' a strange, beguiling folk song. Lyrically, Grundle somewhat resembled Seamus Heaney. Their second LP, 'Stooping To Fit' was released in 1999, full of brass and strings and with a much bigger sound, and then they were gone.
anyway, now Grundle is, to use a tracksandgigs tradition of the last few weeks.....Back! Except now he is called 'The Sleeping Years'. He has an LP out in June called 'We're Becoming Islands One By One' and three limited edition EPs out now. 'Macosquin, Coleraine' is from the EP 'Setting Fire To Sleepy Towns' and will also appear on the album in a different form (hope that is clear). It is a gorgeous, mysterious epic, all handclaps, acoustic guitar and Grundle's wonderful voice.
You can hear music from The Sleeping Years at their myspace, http://www.myspace.com/thesleepingyears
Looking forward to hearing and reviewing the album. hint hint.
The Sleeping Years is the new project from Irish singer-songwriter Dale Grundle who achieved cult staus in the 90s as leader of The Catchers, a criminally ignored indie/folk band who made two marvellous albums and then disappeared. The Catchers made some beautiful music, 'Cotton Dress' was a summer-pop song of very high standing and 'Beauty Number 3' a strange, beguiling folk song. Lyrically, Grundle somewhat resembled Seamus Heaney. Their second LP, 'Stooping To Fit' was released in 1999, full of brass and strings and with a much bigger sound, and then they were gone.
anyway, now Grundle is, to use a tracksandgigs tradition of the last few weeks.....Back! Except now he is called 'The Sleeping Years'. He has an LP out in June called 'We're Becoming Islands One By One' and three limited edition EPs out now. 'Macosquin, Coleraine' is from the EP 'Setting Fire To Sleepy Towns' and will also appear on the album in a different form (hope that is clear). It is a gorgeous, mysterious epic, all handclaps, acoustic guitar and Grundle's wonderful voice.
You can hear music from The Sleeping Years at their myspace, http://www.myspace.com/thesleepingyears
Looking forward to hearing and reviewing the album. hint hint.
Tuesday, 20 May 2008
The Hold Steady 'Sequestered In Memphis'
Tuesday mornings.
They have one redeeming feature and that is that they are not Monday mornings. On a Tuesday morning I still have four shitty commutes, four days at work and four swims (although that is a good thing) until the weekend.
But! This Tuesday morning is different because it is not every week that the NEW Hold Steady single is released. Yes, The Hold Steady are back! Not that they were away for very long. They have confirmed their status as the hardest working band around by touring pretty much non-stop through 2007 and still finding time to record a new album. 'Stay Positive' is released in July and the first single 'Sequestered In Memphis' is available now on itunes USA and to listen to on the band's MySpace.
Despite rumours that the new album features some experimental musical excursions, the first single anyway is what you would expect....loud guitars, great lyrics, superb keyboard work from Mr Franz Nicolay and a chorus to die for...
"In the barlight
She looked alright
In the daylight
She looked desperate"
You'll be singing it all day. Its a great single. What a band.
Tuesday mornings eh?
They have one redeeming feature and that is that they are not Monday mornings. On a Tuesday morning I still have four shitty commutes, four days at work and four swims (although that is a good thing) until the weekend.
But! This Tuesday morning is different because it is not every week that the NEW Hold Steady single is released. Yes, The Hold Steady are back! Not that they were away for very long. They have confirmed their status as the hardest working band around by touring pretty much non-stop through 2007 and still finding time to record a new album. 'Stay Positive' is released in July and the first single 'Sequestered In Memphis' is available now on itunes USA and to listen to on the band's MySpace.
Despite rumours that the new album features some experimental musical excursions, the first single anyway is what you would expect....loud guitars, great lyrics, superb keyboard work from Mr Franz Nicolay and a chorus to die for...
"In the barlight
She looked alright
In the daylight
She looked desperate"
You'll be singing it all day. Its a great single. What a band.
Tuesday mornings eh?
Saturday, 17 May 2008
Gemma Hayes 'The Hollow Of Morning'
The music of Gemma Hayes first came to my attention in 2001 with the superb '4.35am' EP. A wonderful mix of soothing acoustic guitar-led ballads and loud full-band songs, it set the tone for 2002's 'Night On My Side' debut LP. This was an exceptional album, again mixing ballads with rockers, always interesting and Gemma's voice and guitar playing marked her down as a future star, a Mercury Prize nomination moved the level of expectation even higher.
Unfortunately, things seem to have gone badly wrong since then. When I saw Gemma play Bush Hall in London in 2002 she seemed absolutely at the top of her game, holding the attention of everyone in the room that night with some beautiful singing and playing. However, the follow up album took four years to arrive amid stories of changes of producer and problems with 'writer's block'. When it did arrive, it was a big disappointment. Gone were the effective ballad/rockers mix, replaced by a general mid-tempo MOR sound that seemed designed to get Gemma played on the radio but did nothing for her career.
Here, she returns with a third album, released on her own label. The very first track 'This Is What You Do' is a great opener. Over a piano and acoustic guitar background, Gemma sings in a hushed whisper, reminiscent of Stina Nordernstam and the effect is haunting and quite brilliant. Unfortunately this new direction does not last. 'Out of our hands', which follows, is a standard mid-tempo radio-friendly song with a catchy chorus, but hardly groundbreaking. It brings to mind Jeff Tweedy's comments in an old Wilco DVD when he dismissed 'easy rockers'. At least three of the remaining songs follow this exact formula and it is a shame because Gemma is capable of so much more. 'At Constant Speed', for example, is slow and thoughful and 'Chasing Dragons' is unhurried and very pretty, bringing to mind the acoustic songs on Gemma's early EPs.
This is an improvement on her second album but at only 36 minutes there is not enough here of the same quality as was found on her debut LP and early EPs. She promises an acoustic album later this year and that could be very good news, if she follows the formula of the excellent 'This Is What You Do'.
5.9
Unfortunately, things seem to have gone badly wrong since then. When I saw Gemma play Bush Hall in London in 2002 she seemed absolutely at the top of her game, holding the attention of everyone in the room that night with some beautiful singing and playing. However, the follow up album took four years to arrive amid stories of changes of producer and problems with 'writer's block'. When it did arrive, it was a big disappointment. Gone were the effective ballad/rockers mix, replaced by a general mid-tempo MOR sound that seemed designed to get Gemma played on the radio but did nothing for her career.
Here, she returns with a third album, released on her own label. The very first track 'This Is What You Do' is a great opener. Over a piano and acoustic guitar background, Gemma sings in a hushed whisper, reminiscent of Stina Nordernstam and the effect is haunting and quite brilliant. Unfortunately this new direction does not last. 'Out of our hands', which follows, is a standard mid-tempo radio-friendly song with a catchy chorus, but hardly groundbreaking. It brings to mind Jeff Tweedy's comments in an old Wilco DVD when he dismissed 'easy rockers'. At least three of the remaining songs follow this exact formula and it is a shame because Gemma is capable of so much more. 'At Constant Speed', for example, is slow and thoughful and 'Chasing Dragons' is unhurried and very pretty, bringing to mind the acoustic songs on Gemma's early EPs.
This is an improvement on her second album but at only 36 minutes there is not enough here of the same quality as was found on her debut LP and early EPs. She promises an acoustic album later this year and that could be very good news, if she follows the formula of the excellent 'This Is What You Do'.
5.9
Sunday, 11 May 2008
Isobel Campbell and Mark Lanegan 'Sunday At Devil Dirt'
Campbell and Lanegan first collaborated on 2006's 'Ballad of the Broken Seas', written by Campbell seemingly as a tribute to the Nancy and Lee records. It worked well but lacked the humour and spark that Sinatra and Hazelwood managed, perhaps because it was recorded separately with Lanegan singing his parts in LA and Campbell in Glasgow. After touring the album and striking up an unlikely friendship, they are back with a new record, again written and arranged by Campbell.
This time she seems to have scrapped the idea of an album of duets with most of the songs sung mainly by Lanegan with Isobel providing backing vocals and harmonies. The songs are arranged with the same dusty alt.country sound of it's predecessor with effective use of strings and brass making some songs sound like genuine 60s standards.
The opening few songs are sung by Lanegan in his gruff Hazelwood/Cave voice and were clearly written by Campbell with him in mind, both as the singer and the subject of the song. 'Who Built The Road' and 'Come On Over' utilise Campbell's voice more, the latter in particular is a breezy duet with some real chemistry in evidence between the two singers. From there the record suffers from a mini-slump, at precisely the moment that it tries to stray from it's formula. 'Back Burner' is an attempt at soul, but is messy and too long, the gospel choir sounding out of sync with the stripped down feel of the record as a whole. 'Shotgun Blues' sung by Campbell in a voice that seems to be attempting 'sultry' in the style of Hope Sandoval doesn't really work either.
Happily, the closing four songs see the pair do what they do best, straight-forward, well arranged country style ballads. Both 'Keep Me In Mind Sweetheart' and 'Trouble' sound like standards and I had to check the inlay to make sure they weren't covers. The latter is the album's highlight, Mark and Isobel harmonise beautifully and Campbell's confident arrangement allows plenty of space for the strings to flourish. The closing 'Sally Don't You Cry' is equally effective, using Lanagan's voice and a mellow acoustic guitar well.
This is a very different album to 'Ballad of the Broken Seas' and probably a better one. Campbell has done a magnificent job of writing perfect songs for Lanegan's voice and the laid-back dusty arrangements make for a perfect lazy Summer Sunday listen. Were it not for the brief and ill advised excursion mid-album, this would score even higher.
8.5
'Sunday at Devil Dirt' is out now on V2, Campbell and Lanegan tour (together!) in June.
This time she seems to have scrapped the idea of an album of duets with most of the songs sung mainly by Lanegan with Isobel providing backing vocals and harmonies. The songs are arranged with the same dusty alt.country sound of it's predecessor with effective use of strings and brass making some songs sound like genuine 60s standards.
The opening few songs are sung by Lanegan in his gruff Hazelwood/Cave voice and were clearly written by Campbell with him in mind, both as the singer and the subject of the song. 'Who Built The Road' and 'Come On Over' utilise Campbell's voice more, the latter in particular is a breezy duet with some real chemistry in evidence between the two singers. From there the record suffers from a mini-slump, at precisely the moment that it tries to stray from it's formula. 'Back Burner' is an attempt at soul, but is messy and too long, the gospel choir sounding out of sync with the stripped down feel of the record as a whole. 'Shotgun Blues' sung by Campbell in a voice that seems to be attempting 'sultry' in the style of Hope Sandoval doesn't really work either.
Happily, the closing four songs see the pair do what they do best, straight-forward, well arranged country style ballads. Both 'Keep Me In Mind Sweetheart' and 'Trouble' sound like standards and I had to check the inlay to make sure they weren't covers. The latter is the album's highlight, Mark and Isobel harmonise beautifully and Campbell's confident arrangement allows plenty of space for the strings to flourish. The closing 'Sally Don't You Cry' is equally effective, using Lanagan's voice and a mellow acoustic guitar well.
This is a very different album to 'Ballad of the Broken Seas' and probably a better one. Campbell has done a magnificent job of writing perfect songs for Lanegan's voice and the laid-back dusty arrangements make for a perfect lazy Summer Sunday listen. Were it not for the brief and ill advised excursion mid-album, this would score even higher.
8.5
'Sunday at Devil Dirt' is out now on V2, Campbell and Lanegan tour (together!) in June.
Monday, 5 May 2008
Willard Grant Conspiracy 'Pilgrim Road'
Back in 2003, Willard Grant Conspiracy (effectively leader Robert Fisher and various collaborators) released 'Regard The End', an immense gothic folk record on the themes of death, redemption and love. It was a monumental album, with Fisher's deep, slow voice delivering sermons over a beautiful landscape of guitars, strings and piano. It was one of the albums of the year and a gig in the perfect setting of London's Union Chapel confirmed Fisher as one of the leading singer songwriters in the Americana genre at the time.
Disappointingly, WGC then made a mess of the follow up album. 2006's 'Let It Roll' was an ill conceived departure, featuring extended rock workouts and psychadelic blues.
Since then Fisher has recruited a formidable number of musicians and collaborators to work on the follow up, which became 'Pilgrim Road'. The album was produced and arranged by Fisher and Malcolm Lindsay, known for his work on film soundtracks and classical music, and features more than twenty musicians playing every instrument you could possibly think of (singing saw....Jerusalem church bells...).
The result is a stunning return to form and a record of some majesty. Piano, violin and acoustic guitars create a perfect background for Fisher's voice and he returns to the old themes of religion, death and redemption. The songs are slow, sombre but uplifting- especially when the gospel choir is involved or when Fisher's voice lifts with the orchestral moves of the music. There are many highlights, but 'The Great Deceiver', sung with Iona McDonald, takes some beating. It is a plea to God for salvation ("where is my fiery serpent...where is my pound of silver") sung beautifully and one of the best things Fisher has ever recorded.
Elsewhere, a cover of American Music Club's 'Miracle on 8th Street' is beautifully understated and 'Jersualem Bells', all piano and violin, is haunting. 'The Pugilist' is a building, confessional epic ending with Fisher asking "when will I be justified?".
'Pilgrim Road' is a beautiful, rich sounding record which plays to Fisher's strengths unlike it's predecessor. This is a work on a par with 'Regard The End', sombre and mournful but uplifting.
9.0
'Pilgrim Road' is out now on Loose Music. Willard Grant Conspiracy tour the UK this month.
Disappointingly, WGC then made a mess of the follow up album. 2006's 'Let It Roll' was an ill conceived departure, featuring extended rock workouts and psychadelic blues.
Since then Fisher has recruited a formidable number of musicians and collaborators to work on the follow up, which became 'Pilgrim Road'. The album was produced and arranged by Fisher and Malcolm Lindsay, known for his work on film soundtracks and classical music, and features more than twenty musicians playing every instrument you could possibly think of (singing saw....Jerusalem church bells...).
The result is a stunning return to form and a record of some majesty. Piano, violin and acoustic guitars create a perfect background for Fisher's voice and he returns to the old themes of religion, death and redemption. The songs are slow, sombre but uplifting- especially when the gospel choir is involved or when Fisher's voice lifts with the orchestral moves of the music. There are many highlights, but 'The Great Deceiver', sung with Iona McDonald, takes some beating. It is a plea to God for salvation ("where is my fiery serpent...where is my pound of silver") sung beautifully and one of the best things Fisher has ever recorded.
Elsewhere, a cover of American Music Club's 'Miracle on 8th Street' is beautifully understated and 'Jersualem Bells', all piano and violin, is haunting. 'The Pugilist' is a building, confessional epic ending with Fisher asking "when will I be justified?".
'Pilgrim Road' is a beautiful, rich sounding record which plays to Fisher's strengths unlike it's predecessor. This is a work on a par with 'Regard The End', sombre and mournful but uplifting.
9.0
'Pilgrim Road' is out now on Loose Music. Willard Grant Conspiracy tour the UK this month.
Sunday, 4 May 2008
Tindersticks at Royal Festival Hall 3rd May 2008
I saw Tindersticks play live six times from 2003 to 04. They played little from their recently released 'Waiting For The Moon' LP, focusing on their first and second albums and playing a string of audience-pleasing old favourites. The gigs themselves were tremendous, but the band seemed tired and unsure of where to take their music next.
Five years later, following two Stuart Staples solo albums and a drastic line-up change that sees only Staples, guitarist Neil Fraser and keyboard player David Boulter remain from the six founding member, Tindersticks are back with a stunning new album and short European tour which reached London last night.
The Tindersticks that were on stage last night compromised 13 members with everyone who played on 'The Hungry Saw' playing a part, meaning that the departure of Dickon Hinchcliffe did not mean a lack of strings or fullness of sound.
Opening with 'Introduction', the band took the stage one by one with Staples last to appear, just before they launched into the driven, brassy sound of 'Yesterday's Tomorrows'. They preceded to play the first seven songs from 'The Hungry Saw', showing a support and enthusiasm for the new material that was a vast improvement from the days of 'Waiting For The Moon'. The highlights of this early mini-set were the old style big ballad 'The Other Side Of The World' and the Dexys-esque instrumental 'E-Type'. But for this Tindersticks fan, it was a joy to see the band looking so happy and clearing enjoying playing these songs so much. There was a tremendous amount of activity on stage and Terry Edwards on trumpet and Lucy Wilkins on violin, long-time collaborators both, played an important part.
Following this, the audience were treated to a selection of older songs, including the strangely euphoric 'Dying Slowly' and the menacing 'Sleepy Song', before the band returned to 'The Hungry Saw', again playing the last half on the album in sequence. This was a simply stunning collection of songs, played brilliantly. 'Mother Dear' featured perfect, warm vocals from Staples and edgy guitar from Fraser, the call and response of 'Boobar' was perfect in this setting and album closer 'The Turns We Took, an old-school Tindersticks epic with lyrics that seem to reflect on the band's journey was a show stopper although they actually ended the main set with 'What Are You Fighting For?', which is available only as a limited edition tour 7" single.
Returning for encores, 'My Sister' in turns hilarious and beautiful was given an airing, along with live favourites 'Her' and 'She's Gone', after which Staples made everyone in the hall even happier than they already were, with the words "we'll see you soon".
This was a stunning gig. Tindersticks have re-invented themselves and returned with an energy and vitality that suggests they can go on to reach even greater heights than they already have. Staples looked as happy as I have ever seen him at a gig and sounded in tremendous voice.
Five years after a sequence of gigs where most of the material came from two albums that were a decade old, Tindersticks no longer feel they have to evoke memories of past triumphs. They have created an innovative and fresh new album and a live show to go with it. Exciting times for band and fans.
9.8
Tindersticks play Paris tomorrow and festivals in the Summer. They are expected to schedule a UK tour with a stripped down line-up in the Autumn.
Five years later, following two Stuart Staples solo albums and a drastic line-up change that sees only Staples, guitarist Neil Fraser and keyboard player David Boulter remain from the six founding member, Tindersticks are back with a stunning new album and short European tour which reached London last night.
The Tindersticks that were on stage last night compromised 13 members with everyone who played on 'The Hungry Saw' playing a part, meaning that the departure of Dickon Hinchcliffe did not mean a lack of strings or fullness of sound.
Opening with 'Introduction', the band took the stage one by one with Staples last to appear, just before they launched into the driven, brassy sound of 'Yesterday's Tomorrows'. They preceded to play the first seven songs from 'The Hungry Saw', showing a support and enthusiasm for the new material that was a vast improvement from the days of 'Waiting For The Moon'. The highlights of this early mini-set were the old style big ballad 'The Other Side Of The World' and the Dexys-esque instrumental 'E-Type'. But for this Tindersticks fan, it was a joy to see the band looking so happy and clearing enjoying playing these songs so much. There was a tremendous amount of activity on stage and Terry Edwards on trumpet and Lucy Wilkins on violin, long-time collaborators both, played an important part.
Following this, the audience were treated to a selection of older songs, including the strangely euphoric 'Dying Slowly' and the menacing 'Sleepy Song', before the band returned to 'The Hungry Saw', again playing the last half on the album in sequence. This was a simply stunning collection of songs, played brilliantly. 'Mother Dear' featured perfect, warm vocals from Staples and edgy guitar from Fraser, the call and response of 'Boobar' was perfect in this setting and album closer 'The Turns We Took, an old-school Tindersticks epic with lyrics that seem to reflect on the band's journey was a show stopper although they actually ended the main set with 'What Are You Fighting For?', which is available only as a limited edition tour 7" single.
Returning for encores, 'My Sister' in turns hilarious and beautiful was given an airing, along with live favourites 'Her' and 'She's Gone', after which Staples made everyone in the hall even happier than they already were, with the words "we'll see you soon".
This was a stunning gig. Tindersticks have re-invented themselves and returned with an energy and vitality that suggests they can go on to reach even greater heights than they already have. Staples looked as happy as I have ever seen him at a gig and sounded in tremendous voice.
Five years after a sequence of gigs where most of the material came from two albums that were a decade old, Tindersticks no longer feel they have to evoke memories of past triumphs. They have created an innovative and fresh new album and a live show to go with it. Exciting times for band and fans.
9.8
Tindersticks play Paris tomorrow and festivals in the Summer. They are expected to schedule a UK tour with a stripped down line-up in the Autumn.
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