TRENT MILLER – Time Between Us (Bucketfull Of Brains BOB801)

Time Between UsTrent Miller’s new CD Time Between Us, due for release on 16th March 2018, as yet has no mention that I could find on his own web site or that of his record company, so I guess it’s very hot off the press. However, it appears that he originally hails from Turin and now lives in London. His previous albums include Cerberus, Welcome To Inferno Valley, and Burnt Offerings, the last being released in 2014. So he does, so to speak, have a track record, and has been compared to Guy Clark, Townes Van Zandt, and Gene Clark (among others), and certainly the album sits squarely in the Americana category.

Track listing is as follows:

  1. ‘Time Between Us’
  2. ‘How Soon To Never’
  3. ‘Moonlight Café’
  4. ‘Hotel Rooms Of Ocean Blue’
  5. ‘Lady Margaret Street’
  6. ‘Bonfires Of Navarino Road’
  7. ‘Days In Winter’
  8. ‘Hearts Forever Changing’
  9. ‘After The Great Betrayal’
  10. ‘Since You’ve Gone’
  11. ‘Lament Of The Sea’
  12. ‘She’s Leaving This Place For Good’

Van Zandt, Clark (and Clark)…Well, those are big shoes to fill, but he does wrap a suitably lived-in voice around some songs that could easily have come out of the US. In places, his vocals even remind me of Johnny Cash’s last work, though pitched in a higher register. On ‘Lady Margaret Street’ the singing recalls the bruised vocals on Cash’s cover of the Nine Inch Nails song ‘Hurt’, though the song is pacier and the lyric less astringent.

I don’t hear anything quite as classic as ‘Desperadoes Waiting For A Train’ or ‘Pancho And Lefty’ here, and a couple of the songs are a shade too reminiscent melodically of songs by other singers. But it’s a decent collection of country-ish songs, with lyrics that sometimes sound quite personal, but have more light and shade than I was expecting from what I’ve heard of his earlier material. The album features tight (and never obtrusive) instrumental work from Miller stalwarts Paul Cuddeford (guitar), Barbara Bartz (violin), Bethany Porter (cello) and Patrick Degenhardt (drums), and a live set by Miller and his band is probably well worth hearing.

David Harley

Artist’s website:

‘Days In Winter’ – official video:


Farewell BeliefGabriel Moreno is a poet and singer-songwriter originally from Gibraltar but now an integral part of the London scene. Farewell Belief was recorded in Vilafant, Catalonia with a multi-national band and follows his debut, Love And Decadence.

The intriguing thing about Farewell Belief is that I can hear Leonard Cohen singing these songs. Gabriel admits that he is influenced by Cohen but this takes influence to a whole new level of homage. Don’t get me wrong, Gabriel isn’t a cut price copy. His accent gives him a distinct voice but references to the military and to dancing draw you back. That said, Leonard would never have written a line like “I am going south to sing with Johnny Cash”.

The opening title track is built on the gypsy rhythms of cajon and violin played by Pablo Campos and Barbara Bartz. That is followed by ‘Nobody Knows Where True Loves Goes’ which is full of ringing guitar tones until it explodes into an electric solo from Pablo Yupton. ‘Dear George’ has an almost-solo acoustic accompaniment while ‘Rosalind’ is straight out of a European nightclub and decorated by Sergio Contreras’ trumpet. The violin initially leads ‘Mary Magee’ over an oom-pah ground but allows Sergio a dirty jazz solo before the final verses.

‘Speak To The Tide’ is probably the most conventional song; a pretty finger-picked guitar and violin arrangement of a story of love and estrangement. At least that’s how it reads to me but many of Gabriel’s lyrics are quite surreal – “the world is a ravenous whale” springs to mind. It is clear that he is a poet at heart and his words read as well as they sing. He borrows a few lines from Yeats but you can’t help but think of Lorca. For all its oddness, the album has a great appeal and when the band is in full flight it is really rather wonderful

Dai Jeffries

Artists’ website:

‘Farewell Belief’ – live: