Swiss-based BLACK SEA DAHU’s new EP, No Fire In The Sand, conjures the ghostly sound of Mediterranean waves that carry the swell of spooky folk-rock music. BSD’s music has been described as “songs that Eurydice sadly sang in the aftermath of Orpheus’ forbidden glance”. These songs are ancient echoes still lingering in very modern memories. Magical music never ages.
‘Rhizone’ and ‘Thaw’ stretch with acoustic beauty, as a subdued guitar, keyboard, and percussion frame Janine Cathrein’s melancholic magnetic vocal. Comparisons can be made with The Dead Can Dance. This music sings with a haunted soul.
The title track dives even deeper in Stygian darkness. It’s a lonely soul of a song, yet the melody shimmers with brief moonlight. Again, the tune builds slow momentum with double-tracked voices, quelled percussion, keyboards, and a patient electric guitar that plucks silence into a strange lullaby.
The seven minute-plus ‘Demian’ begins with a simple guitar and Janine’s voice. The song gets electric and percussive. But it’s still a dreamy dance. By mid-song, the deep web of instruments simply bounces with dark mantric soul.
Finally, ‘How You Swallowed Your Anger’ has a slow acoustic and psychological pulse. An accordion is added to the mix. Words drip like Salvador Dali’s surreal time. And the melody quietly spins in a ghostly dance and then dissolves into a run-off groove filled with memories that come and go, like the ageless Mediterranean tide that flows through the music of Black Sea Dahu.
Originally one half of American folk-rock duo The Story alongside Jennifer Kimball, JONATHA BROOKE has been around for quite a while, working as both a solo artist and in tandem with names that range from Katy Perry to Patty Larkin, nothing up ten studio albums, including a collection of previously unrecorded Woody Guthrie lyrics. The Imposter (Bad Dog Records) is her first new material in three years, a five track EP opening with the swaggering title song, pizzicato violins, accordion and tuba giving a gypsy jazz feel, a lyrical spin on the emperor’s new clothes that harks to artists’ nagging doubts that what they do is a waste of time and that they’re a “Liar, Loser, Phony/No one ever says so, but I know it’s true/Poser, lightweight, cheapskate/The wanna be, the woe is me”.
That creative mind swing between confidence and uncertainty veins the EP, with the brass-brushed bluesy speak-sing slink of ‘Fire’ declaring “I’m in the ring, and I’m a knockout, so watch out” and “I’m not shutting up/Until you agree that I’m extraordinary” while’ on the woodwind and cello-coloured, relationship-based ‘Twilight’ she sings “I love you, not perfectly, not well/But I love you, and I’m leaving soon, so fare thee well”. Set to a shimmering show tune pop arrangement, ‘Revenge’ is basically about how things come back to bite you (“My best laid plans played a killer last hand on me/And you got the last laugh”) but then she again switches it around with “I’m nothing if not resourceful/I’m flexible in a pinch/I’ve got this, I can top this. It’s a cinch”.
It ends with the moody piano, flute and classical string quartet ballad ‘True To You’, a simple hymnal (“How much will it cost, Lord?/I will bear this cross, Lord/I will walk through the night/Through the valley I’ll fight/But must I be alone, Lord/To be true to you?”) that sounds like it should be a dimmed lights showstopper in some Broadway musical, a reminder, of course that she wrote her own musical theatre piece, My Mother Has 4 Noses, about caring for her mother in the last stages of dementia. Brooke has no need to question her artistic worth or integrity, she’s the real thing and when she sings “I’ll be parading high fives on the way outta here”, you can’t help but agree she fully deserves to.
MARISA JACK & DAVY are Marisa Straccia, Jack Sharp and Davy Willis a somewhat diverse trio. They got together in Bedford a few years ago to play at the events they were promoting and have been honing their craft since then. They have been praised by Nicola Keary and Jinwoo and have been dubbed “earthy” and “weird” but in reality they are just approaching the songs in their own way.
Their debut EP is Bring Us In and consists of five traditional songs and one from the celebrated Kipling and Bellamy songwriting partnership. The set opens with ‘Bring Us In Good Ale’ taken at a stately pace with just enough reverb on the verses to suggest monks processing through their cloisters. They maintain that feel as their arrangement of ‘Bushes & Briars’ will put you in mind of a mediæval bard. ‘Nottamun Town’ is a bit weird, you know, and Marisa Jack & Davy emphasise the strangeness of the lyrical contradictions. This is the full version of the song pretty much as recorded by Jean Ritchie.
‘Oak & Ash & Thorn’ comes from Kipling’s mystical period and is also a bit weird and this reading does nothing to negate that. ‘The Sun Rises Bright In France’ is a song of longing and ‘Bows Of London’ is one of best version of the ‘Two Sisters’ story. Whatever happens, Marisa Jack & Davy should be huge before too long.
An early Christmas arrival comes from THE MINING Co. with Three Kings (PinDrop), wherein Michael Gallagher offers up five festive treats in his quest to recapture his own memories of Christmases past and a more recent one spent in Spain. Recorded in Andalucia with producer Paco Loco who also contributes Spanish guitar on two tracks.
The first parcel under the tree is the banjo and strings accompanied ‘Long Way To Christmas’ which would seem to draw on Jona Lewie influences and a Roy Wood kiddies chorus, followed by the dreamy and smooth Johnny Mathis tones (and Glen Campbell colours) of ‘Christmas No 1’ (with, yes, sleigh bells). Military snare (a la ‘Little Drummer Boy’) provides the tinsel on ‘Wild Gift’ (from where the album’s Biblical reference title comes), the final trimmings being the Latino samba sway of ‘Ghost Writer’, where his voice finds its deeper range, and the childhood nostalgia of ‘Holloway’, with its picked Spanish guitar and muted rumble of drums, when “every morning was Christmas Day”. One for your Santa wish list, I think.
GLORIOUS LEADER’s ‘Borderline’ is the first single from the up-coming EP My Kingdom, which is a wonderful collection of ethereal songs that walk in the acoustic footsteps of the human heart. Kyle Woolard is the one-man talent here. He’s on leave from the very fine band The Anatomy of Frank, whose album South America was described as “a melodic folk-rock masterpiece”.
This solo record travels into intense personal soil; yet as Walt Whitman wrote, “For every atom belonging to me as good belongs to you”. So, these songs resonate as a totem for sensitive folks who enjoy a really nice melody. That first song, ‘Borderline’, sings, “I guess we’re all trying to make it work”. That sort of sums up modern life.
As reference points, imagine music filled with the intense quietude of Paul Simon’s ‘Duncan’, Magna Carta’s ‘Living In The Land Of Ulysses’, and the entirety of Bon Iver’s For Emma, Forever Ago.
The rest of the songs echo that gentle melodic pulse. ‘Onism’ has a passionate and irresistible chorus (with great handclaps!). ‘Sweet Louisa’ brings a ukulele, strings, and heavenly harmonies. ’Kyla’ is strummed and slow, and it dances with a few electronic sounds. ‘The Wide Sargasso Sea’ has David Crosby’s ‘Guinevere’ depth. This tune has “green eyes”.
The final song, ‘Half Alive’, is confessional stuff. And it has a hymn-like quality that plucks, with that darn ukulele, some sort of vague hope for a better tomorrow. And that’s a really decent song for any record to sing.
Birmingham songstress KATHERINE PRIDDY follows-up her well-received debut EP Wolf, which sold out three pressings, with a limited edition single ‘Letters From A Travelling Man’ (Static Caravan), an upbeat, frisky Americana-styled number that takes its inspiration from her experiences of living on the road and the struggles of trying to maintain relationships alongside an unsettled lifestyle. Paired with the softer slower strummed ‘Come and Go’ , a yearning for a place to call home but acceptance that everything must inevitably pass, where she duets with Northern folk singer-songwriter George Boomsma, it’s released digitally as well as a limited run of collectable coloured vinyl alongside a postcard urging the listener to rediscover the lost art of letter-writing.
NAVARO release the first single from their forthcoming album. ‘The Fall’, written by Pete White, is described as an “autumnal hymn” and is simply built around acoustic guitar and keyboards with the band’s signature harmonies.
THE MAGPIES were originally formed in York in 2017 as a duo of Bella Gaffney and mandolinist Polly Bolton, expanding to become a quartet in 2018 with the addition of cellist Sarah Smout and fiddler Holly Brandon. Drawing on shared and individual influences to create a fusion of Celtic and bluegrass folk, they have a debut album arriving shortly, preceded by the gently flowing download newgrass single ‘Run, River Run’, written by Ganney and originally featured on Bella and Polly’s own self-titled EP, here given extra colour with fiddle and cello.
With Brexit in mind, BEANS ON TOAST released his single, ‘England, I Love You’, on October 31st. It’s full of his familiar biting wit paired with a jolly tune and “patriotic” brass. The song is taken from his forthcoming album, The Inevitable Train Wreck which you will buy if you know what’s good for you.
ANNIE DRESSNER has a new self-released album due early 2020, meanwhile she has a taster single in ‘Nyack’, a simply fingerpicked, brushed snares shuffle named for the Orangetown village in Rockland County, New York, a song about memories, her childhood, her brother and leavings.
DUSTY WRIGHT dedicates his acoustic version of ‘Bad Moon Rising’ to the world’s climate change warriors. It’s from his forthcoming album Can Anybody Hear Me? and despite its Dylanish harmonica it ‘s actually rather polite. You can hear all the words, though, possibly for the first time.
Israeli singer/songwriter MARBL has a new single, ‘The First Day Of The Rain’. It’s piano driven and drenched with strings and is rather lovely. We’re told that she’s into supporting abandoned animals but that’s not coming over here.
‘Battle Ready’ is the single taster and title track from the new EP by Manchester’s JOHN TILLER. It’s a powerful song with solid drums and ringing guitar. Americana but with a British twist.
DARWIN’S DAUGHTER also gets into the festive spirit with ‘Snow Angels In The Rain’ (self-released), her first and last release of 2019, a gently lovely cello and fiddle-sprinkled ballad about transience that comes with a Christmas Edit which replaces the xylophone at the end with jingle bells. Ahh, bless.
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