Making good on his Best Newcomer gong in the 2010 BBC Radio 2 Folk Awards , Carter went on to release his critically acclaimed No Testatment as well as collaborate with Jim Moray as False Lights on the Salvor album. The moment shows no sign of slacking with this, his third solo outing, produced by Dom Monks and Neil Cowley and recorded live to tap with musicians that, in addition to Cowley on piano, included his trio’s drummer Evan Jenkins, regular bassist Matt Ridley and award winning fiddler and viola player Sam Sweeney.
Opening with ‘From the South Bank to Soho’, an acoustic farewell love letter to both a romantic partner and London, Carter says the album is often unconsciously permeated by the city’s influences, the songs drawing on images and impressions, as on the piano-backed title track, but also more explicitly detailed as with ‘Haringey Lullaby’, a lament written in the wake of the Baby P case.
If those are all gentle melodies, then contrast can be found on the lurching Arabia meets carnival snake-charmer lope of ‘Dark Days’ with its marxophone and electric guitar, the gathering musical stridency of ‘Drop The Bomb’, its rock out guitar solo mirrored in the equally aggressive and dynamic sounds of ‘Taunting The Dog’, a number that underscores those Richard Thompson comparisons. Less angry in tone, the playful, organ-backed train rhythm scurry ‘One Last Clue’ is also a more uptempo affair, one which might even prompt loose thoughts of Chas ‘n’ Dave, or maybe Chris T-T.
It’s often the case that one style overshadows the other, but Carter has achieved a solid balance here on material that complements rather than contrasts, moving between the distorted ringing guitar and anthemic choral sound of ‘The Grieved Soul’ (a touch of Blake, perhaps), the bittersweet hushed ‘King For A Day’, the jazzy keyboards and acoustic guitars of ‘We Never Made It To The Lakes’ and the undiluted folksiness in which ‘Our Kind of Harmony’ swims without ever jarring.
This is the sound of a man supremely confident in his ability to craft and shape both words and music, never afraid to explore unknown territories, but equally happy to relax in familiar settings knowing it’s through choice not complacency. A sure thing for a Folk Awards album of the year nomination next time around, it’ll take some really stiff competition to challenge this.
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Artist’s website: http://samcartermusic.co.uk/
The making of How The City Sings: