BURNING SALT – Automatic Lullaby (Own Label)

Automatic LullabyBurning Salt’s EP Dirt, inspired by the women and workers of Holloway prison and released in September 2018, was a stunningly intense and original aural and lyrical experience that earned the band a nomination for the Folking 2019 Awards in the ‘Rising Star’ category, but also gave them a lot to live up to when it came to releasing Automatic Lullaby, their debut full-length album. Fortunately, while the album is less conceptually cohesive, it has no less impact, giving us a more personal glimpse into Hannah Hull’s haunting songwriting.  It has all the (sometimes painful) honesty that I’ve come to expect from her work, with her distinctive vocals and acoustic guitar framed by the very capable and sympathetic musicianship of electric guitarist Bobby Williams (who also played piano and keyboards and produced the album) and double bassist John Parker.

Burning Salt are augmented on this recording by Daisy Palmer’s percussion on several tracks, Oli Arlotto’s baritone saxophone on ‘Superstitious Woman’, and Rupert Gillett’s cello on ‘Hold Me Down’.

Nevertheless, here’s the full track list.

  1. On the title track ‘Automatic Lullaby’ Hannah adopts an appropriately mechanistic vocal delivery in sharp contrast to the instrumental playout, in which mellifluous country-ish guitar is undercut by subdued discordance.
  2. ‘By These Words’ is a little more conventional, with a haunting tune carrying a harsh lyric.
  3. The melodic structure of ‘Hold Me Down’ for some reason reminds me of the sort of music I was apt to listen to in the early 70s, though the arrangement is economical where the 70s tended to be overblown. Still, I could almost hear Jim Morrison singing something like this. Actually, I’d probably buy this as a single if I didn’t already have it: it was still going through my head an hour after I first heard it.
  4. ‘Plateau’ starts from a slow-paced vocal that stretches the conventions of the love song well beyond the Top 40 – “I need you / I need you / I need you / but only if you behave” – and builds climactically.
  5. ‘Residue’ is a perfect exercise in saying exactly what you need to say, and no more.
  6. ‘Superstitious Woman’ has something of a rock ‘n’ roll vibe: I’m not sure about the freeform baritone sax solo, but even that has a certain OTT charm. And it’s rather a good song, its commercial potential presumably behind its release as a single.
  7. ‘Burn’ seems to me like rather a good rock track. Future single material, maybe?
  8. Thematically, ‘Lovers On A Ledge’ resembles ‘Residue’, and again needs only about a minute to make its point with precision, though its arrangement is quite different and rather daring.
  9. ‘King’ has a chillingly submissive timbre to the lyric, framed as a minor-key ballad.
  10. ‘Honey’ has been around for some time on the Burning Salt website as a video, and has also been released as a double A with ‘Superstitious Woman’. While at first blush it sounds almost like a 50s pop ballad, it has a sting in the tale, so to speak. “Keep your hands to yourself / I don’t need that kind of love…
  11. ‘Old Bones’ is an oblique lyric tied to another tune that lingers in the memory. Very effective.
  12. ‘You Missed Me’ is the shortest track on the album, with the main vocal line carried only by backing vocals.
  13. The uncomfortable lyric of ‘Take Me Home’ is carried by a simple chord sequence and some adventurous sound effects. An entirely suitable ending to an album that probably isn’t going on to the shelf labelled Easy Listening. In fact, after a few listens, I couldn’t think of a better choice for a final track.

This isn’t an album that makes much in the way of concession to commercial appeal – though there are some surprisingly catchy tunes and lines here – and the mood is generally downbeat, so it’s not going to appeal to everyone. However, if you heard and appreciated Dirt, I don’t think you’ll find this disappointing. If the band is new to you, check out the videos on the Burning Salt website.

Automatic Lullaby will be launched at the Hermon Chapel in Oswestry, Shropshire, on Friday 24th May 2019, the day on which it becomes publicly available on all major streaming platforms (or for download via the band’s own website). Going by the live set I heard the band do last year, the launch will be well worth your time if you’re in that area.

The album tracks ‘Honey’ and ‘Superstitious Woman’ have been released as a double single.

David Harley

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‘Superstitious Woman’ – official video:

JIM MORAY – Skulk (NIBL013)

Perhaps its Moray’s numerous tales of brushes with death on previous recordings that inspired him to use the collective noun for foxes ‘Skulk’ as the title of his latest CD. Or maybe you’ve just seen the series “Whitechapel” on TV? Whatever the reason, his opening choice of song “The Captain’s Apprentice” is a brooding piece of work that would settle comfortably alongside any recording by June Tabor and I certainly applaud the unsettling choice of piano chords on a stark background of saxophone used for its texture rather than as a melody. This really is an unpretentious, Gothic piece of dramatic theatre that wouldn’t sound out of place as the soundtrack to a David Lynch or David Cronenberg movie and will doubtless send shivers down the spine of anyone who purports to have a soul. For this track alone I’d personally give the album a ten but than that would be to dismiss this young man’s ability to turn his hand to more or less any genre of music he cares to utilise for his excursions. He makes no bones that the ‘traditional’ emphasis of his outpourings is his main preference of ingredient but in using a heady mixture of jazz, rock and classical the scatter-gun approach will hopefully expand the confines an audience made-up of primarily ‘folk’ music enthusiasts. This album may not be to everyone’s taste; perhaps a little too maudlin for most but I urge you to think again because any ‘craftsman’ that can make you go straight to your computer to check out the original version of Anais Mitchell’s (www.youtube.com/watch?v=0IOeGyD4zUA) “If It’s True” has done his job superbly well. I’d finally like to credit the tremendous sleeve photos of Sorrel The Fox (held with loving care by Moray) taken by the ever imaginative David Angel. If you’re an animal lover or just love good music you’ll love this recording.


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Artist Web link: http://jimmoray.co.uk/

“Already, one of the great album releases of 2012!” folking.com