VIRGINIA KETTLE is one of Merry Hell’s front line as songwriter and singer and formerly a successful soloist around the clubs. This eponymous EP with The Dreamcatchers (who are not named but who look suspiciously familiar) is, we’re told, the precursor to a solo album. Her songs tend to be human stories, often with a twist, some of which scale up for the band but these would not.
‘The Butter Song’, which opens the set, begins with the brilliant lines “Ever considered someone like me to spread the butter on your bread” and is sung over hand percussion. ‘More Than This’ sees The Dreamcatchers joining in, initially gently pastoral then building up and finally slipping away. As I’ve come to expect the songs are clever; sometimes quirky like ‘Little Warm’ or deceptively deep like ‘Freedom (The Sweetest Taste)’. We’re looking forward to the album already.
A collaboration between Brighton songwriters, Rebecca Brandler and Scott Booth, PAPER HAWK make their debut with The Tide, a four track download EP via local label Folklore Sessions recorded in the living room of their flat. The opening track, ‘Trails’, a number about the death throes of a volatile relationship, is what you’d probably call psych-folk with whispery-sung ethereal, echoey vocals, shimmering keyboard swirls, understated drum beat and skitterings of guitars. It’s a mood sustained with the watery finger picked acoustic guitar work accompanying Booth’s vocals on the breathily-sung and rather positive and idealistic ‘The Fourteenth Floor’, clattering percussion and a thumping drum beat gathering for the instrumental play out.
Underscored by spare bass guitar notes and plucked acoustic guitar, ‘Northern Sky’ is another airy piece from Brandler and, largely down to producer Josh Trinnaman, again builds the soundscape towards the close. That bass drum thump also underpins the final number, ‘Written In The Lines’, an electronic ambience enfolding Booth’s hushed vocals on a song that bookends the EP by both returning to the theme of a relationship past its use by date and with the outro mirroring the opening wordless ululation on ‘Trails’. An impressive debut that leaves you wanting to hear what else they can do.
Forget About You is a new EP by FINE LINES, a duo founded by singer-songwriter David Boardman and vocalist Zoe Blyth with a cast of supporting musicians – Mark Radclffe has been known to turn out on drums with them. The lead track and ‘Feet Don’t Touch The Ground’ both come from last year’s album, Hour Of Need while ‘Who Do You Love?’ and ‘Begging You’ are new songs. Their sound is acoustic rock with a slight country edge that sometimes forgets that it is supposed to be acoustic but it’s classy stuff.
ANNE-MARIE SANDERSON is a singer-songwriter and multi-instrumentalist – guitar, cello and clarinet are among her accomplishments. Book Songs Volume 1 is her third EP and it will presumably be followed by a second volume in time. The five songs here are all inspired by novels, authors including such literary giants as Ian McEwan and Doris Lessing. As befits such inspirations, the songs are musically and lyrically complex. ‘Haweswater’ covers the same ground as Mike Turnbull’s ‘Drowning Valley’ and is a particularly fine song. ‘Mara’s Song’ is even better and like ‘Poisonwood’ is set in Africa – two very different Africas actually – one in the distant future and the other in the mid twentieth century. Anne-Marie plays every note on this EP and has fine voice with a hint of wildness in it that many critics have worked hard to describe.
EVAN CARSON is the folk scene’s go-to percussion at the moment but now we learn that he is also a composer of no mean talent. ‘Shards’ is the first part of what is intended to be a musical story of his grandfather, George Ocipinski, who escaped from a labour camp and travelled west to join the French Resistance in time for the Normandy landings.
Lead vocals are by Georgia Lewis and the music is built up by the piano of Gleb Kolyadin, Karl James Pestka’s strings and Toby Shaer’s flutes. The nine-and-a-half minutes composition begins with the sound of the wind underneath glockenspiel or chimes – or possibly both – played by Evan himself. Then it rocks a bit with percussion that, to judge from the later lyrics, might be intended to imitate a train as George makes his escape. ‘Shards’ is a dramatic piece of work and there is an EP in the offing. We can’t wait.