Tag Archives: folk

Haim – ‘Don’t Save Me’

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Haim are simply amazing! With a different sound from your average group these 3 sisters from California, Este, Danielle and  Alana Haim (along with drummer Dash Hutton) have the perfect mix of old-stylie music with up to date pop, folk and R&B.

‘Don’t Save Me’ has become one of my favourite songs this year. It’s upbeat and easy to sing along to with the added bonus of integrated claps; this track is perfect to dance to in a completely ridiculous way (arms flailing included).

‘Don’t Save Me’ also has an essence of the 80’s which I can never resist. The vocals are strong and husky. In a way this song (and most other Haim songs) has some ‘life empowerment properties’. Not in a ‘we are the best’ Destiny’s Child sort of way but in more of a hippy, fun and carelessly free way. This is complemented by the lyrics, for example “Don’t save me now, if your love isn’t strong.” Haim’s songs just create a really great atmosphere, they’re happy and a tad eccentric.

So far there aren’t that many Haim tracks out there, with only the EP ‘Forever’ and a couple of singles to get your Haim fix :( Their newest single ‘Falling’ is potentially my favourite Haim song, so check that out as well as it will be perfect for summer (when the sun eventually arrives).

10/10

Bailey Johnson.

Sienna – EP

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Sienna are a 6 piece folk/ acoustic band from Kinross, consisting of Danny Mcatear, Andy Clarke, Ross Mathieson, Ben Watt, Stella Reilly and Calum Anderson.  Their sound could be likened to that of Mumford and Sons.

Sienna has a great acoustic arrangement with a varied assortment of instruments, however this is more evident in their 1st album. Their second EP has apparently been “stripped back to voice and piano”, and maybe they’ve taken that ethos a bit too far. There just appears to be something missing despite interesting lyrics and a good instrumental core.

‘Oh Woman’, has a good beat with a nice relaxed and calming atmosphere, a taste of what Sienna would sound like with some more fine tuning. It’s a dreamy song, perfect to have on at the end of a busy day. ‘Drop in the Ocean’ has a bit more life to it, with thought-provoking lyrics and some lovely melodies this song would not be out of place in a good acoustic playlist.  ‘Better Off Dead’ has a rock-a-billy vibe with a bit of attitude and which would be perfect for a film soundtrack featuring some sort of western scene.

Generally Mcatear’s husky voice and Reilly’s high pitch vocals work well together, unfortunately in ‘This Love of Mine’ the vocals are not particularly soothing and ruin what would be a nice song if someone else sang it. It’s seems like Sienna tries to pack too much into their songs, an example of this is ‘Lovers’ Game’, which has a lovely start. Stella Reilly’s voice doesn’t have much strength but is quite beautiful until the other band members chime in spoiling the atmosphere; and as noted previously in another review Sienna aren’t particularly at one with their harmonies, which is a shame. They also seem to have a sound problem where some vocal sound as if they all singing from different rooms or in an echoing toilet.

On the whole this is not an EP that is terribly exciting. I’ve tried not to write a scathing review but Sienna just leaves you so disappointed. All the right ingredients are there, however things are a bit misplaced and wonky.

4/10

Bailey Johnson.

Billy Bragg – ‘No One Knows Nothing Anymore’

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Fresh from his recent appearance at the BBC Radio 2 Folk Awards where he picked up the Roots Award, in recognition of his having worked up through the music business from grass-roots level, here comes something rather different from Mr. Bragg.

Well-known for his strong social and political beliefs, Billy’s music is as remarkable for the lyrical content as for its melodic charm. Unquestionably his greatest hit was ‘A New England’ a song which continues to inspire generations of young musicians, music-lovers and political activists over thirty years after it was originally written. He is also responsible for the Leftfield tent (a mixture of music and politics) at Glastonbury Festival where he not only performs many of his own tracks but also invites other politically-minded singer/songwriters to sing, chat and even debate issues currently affecting the British public.

‘No One Knows Nothing Anymore’ is more than just a cynical (not to mention ungrammatical) grumble. Billy seems to have spent the cold evenings in a wistful and philosophical mood whilst keeping current affairs in mind. In a time where every area of the media seems engrossed by Prof. Brian Cox and David Attenborough, Billy seems to have found some inspiration, and questions how much we really do know about… well everything. From science to banking the message seems to be that we should all just relax and just be happy and contemplative rather than stressed and worried trying to find out the truth about everything.

In terms of the music this song certainly has a much stronger country music under-current running through it, not a style I’m overly keen on, but somehow Billy seems to have pulled it all together into something quite enjoyable. This is definitely one for the chill-out come-down rather than anything that will get the party started, but that is no bad thing.

Billy’s new album Tooth and Nail will be released mid-March following which he will embark upon a three-month tour starting in the States on March 23rd. For more information have a look at Billy’s all-singing, all-dancing website.

Roisin Trainor

The Staves – ‘Tongue Behind My Teeth’

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I first came across this acoustic trio last year when reviewing their single ‘The Motherlode’. The three sisters Emily, Jessica and Camilla Staveley-Taylor are from London and are particularly known for the beautiful voices which they possess.

‘The Motherlode’ and ‘Tongue Behind My Teeth’ are from the same debut album, which is called Dead and Born and Grown. However it seems that The Staves have reserved a bit of attitude for this track which is darker than the rest.

Initially when listening to ‘Tongue Behind My Teeth’ I picked up on a country vibe which was emphasised by its driving background beat. Upon watching the music video this all made a lot more sense. It features the sisters taking down the Wild Wild West in what seems like a vengeful mission. The Staves have definitely stepped it up a notch on the feisty scale and this is reflected in how upbeat the song is. I’m sure this is intentional judging by the tile and subsequent subject matter of ‘Tongue Behind My Teeth’. At first glance this style doesn’t seem to fit the girls’ usual folksy gentle manner but here it works and serves to add variety to a peaceful album. Their vocals are much stronger than before, in ‘The Motherlode’ they were whispery and virtually angelic. Nevertheless they have still maintained their very pure sound and perfect harmonies.

Despite all the talent that they have I’m not sure how memorable this song really is. It’s not the sort of song that will be going round in your head for days. On the other hand, for a laidback background atmosphere it’s perfect. The album Dead And Born And Grown is expected for release on iTunes on the 12th of November.

7/10

Bailey Johnson

Keaton Henson – ‘Sweetheart, What Have You Done To Us?’

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Keaton Henson is a singer-songwriter from London of the alternative/acoustic/folk variety. He has gathered a large following from his debut album Dear which was released earlier this year. ‘Sweetheart, What Have You Done To Us?’, is from his new EP which is expected to be released 18th November on iTunes.

This song tells the story of a lost love and the anguish that the situation brings. Essentially, it features a poetic Henson having a bit of a whinge, although there is nothing wrong with that. The song flows gently, building enchanting melodies and fulfilling its melancholic purpose by exuding a sense of despair. Apparently Henson likes to make his listeners feel as lonely as he does. The lyrics are interesting and complimented by Henson’s heartfelt whispery vocals; up until I realised who he sounded like (Winnie the Pooh).

His songs are beautiful. I’ve had this song stuck on replay for a while now and it’s perfect as background music, definitely for easy and relaxed listening. However, good luck looking for a live performance as he suffers severely from stage fright and he appears to be a bit of a hermit. I can definitely sympathise there, seeing myself old and bundled away with my cats, but he’s in his early twenties holed away in his Richmond flat lacking the desire to widely share his music.  On the other hand the fact that his songs are recorded solitarily in his flat and his aversion to thinking about his listeners, gives an intimate quality to his work.

He also doesn’t do interviews (unless by email) so there is scarce information about him. Is this shyness all a bit of front to flatter his pretentious sensibilities or a genuine issue?  It has certainly got him a cult following where any sign of a live performance has them clambering for a ticket, one gig sold out in 7 minutes! Either way it’s a bit of a shame that he keeps this talent largely to himself with regards to live performances.

 Bailey Johnson.

 

Villagers – ‘The Waves’

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One word seems to sum up the Villagers and that word is odd. Fortunately I’m not adverse to the oddities of this world, as otherwise I might have missed out on this weird but intriguing band. Villagers are a five piece from Dublin who have previously had great success from their 2010 debut album Becoming a Jackal.

The first track  from the new album, ‘The Waves’ just grows on you after a while. I think this is partly due to the consistent rhyming throughout; it’s rather like a poem that is being read with a reasonably creepy voice. This poem is then set against a driving beat which is infiltrated with odd electronic beeps and crashes of noise which perfectly reflects the songs title ‘The Waves’. The melody moves like a wave, gathering power in volume and complexity. It has a strong and fast beat giving the song a light-hearted, contemplative tone. If slowed down however I fear this track would have a much more sinister edge. The B-side, ‘Memoir’, is even better; it’s less experimental in its composition but evokes much more emotion.

For this band’s style the right mindset is definitely required when listening, these are not a songs you’ll be partying to anytime soon. However they would be perfectly suited to an interpretive dance. Essentially they are atmospheric and thought provoking songs. Just the lyrics alone are quite special, “sister, jury, brother, judge and you all recognise this grudge, buried deep among the sands of these ridiculous demands, no time for innocence, or sitting on the fence.” Conor O’Brien’s vocals are strange albeit comforting.

The new album Awayland will be available 14th January 2013, so if you feel like adding something to expand your imagination this may be the way forward.

Bailey Johnson

Cara Mitchell + Esperi + Margaret Finlayson – 11/10/12 @ The Tunnels

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It’s difficult to efficiently categorise music nowadays. There are too many genres, sub-genres, mash-ups, quasi-fusions, re-interpretations… However, it’s hard to compare the phenomenon that is the voice backed by an acoustic guitar, with anything else. This simplest of formats allows for the most intricate melodies to shine through, and the most weighty lyrics to have impact. There’s nowhere to hide really.

Cara Mitchell, a young (like, depressingly young, she probably shouldn’t be allowed in most of the venues she’s playing) singer-songwriter from Aberdeen, has no intention of hiding. In the midst of a nation-spanning mini-tour, she already sounds like she knows exactly what she’s doing. There’s a distinctive, quite lovely voice; delicately melodic guitar work and – perhaps most impressively for someone of 16 years – a natural flair for song-writing. Not for nothing, she’s probably one of the most hyped talents in Aberdeen right now. With the pressure of headlining a venue like The Tunnels though, anything could potentially happen. Fortunately, except for a couple of sort-of-charming-but-nervous giggles between songs, she seemed quite at home.

The two supporting artists also did their job pretty convincingly. Firstly, the always impressive Margaret Finlayson did her thing with confidence and increasingly evident enjoyment. She has a sort of piercing but reassuring tone that is measured perfectly, letting her obvious love for melody permeate every song. With lyrical themes of jealousy, love and insecurity, she’s all you could want from a girl-with-a-guitar. From the opening strum of the ridiculously pleasant ‘The Warning’, there’s an authority in her voice that just grabs you. Newer jaunt ‘Never There’ suggests something of a progression, while the brooding ‘The Fear’ proves her versatility. Sure, it’s all a bit too perfect – there’s perhaps a little part of you that wants to see her kick over a mic stand or spew profanities at the audience, just so you can say she did something wrong – but there’s a lot to like about her. We’re all waiting for a headline gig.

The other support act, Esperi, is pretty much the opposite of a girl with a guitar. Intricate soundscapes are his thing. With his loop pedal, he builds and builds and builds, until there’s an almost post-rock wall of sound that is just immense. While he could end up sounding pretentious and boring, he somehow manages to make it all rather beautiful, and enormously affecting. Though there are countless instruments (seriously, I’m sure he’s invented most of them), there’s always an underlying sense of melody that maintains an emotional connection. Esperi is what experimental, boundary-pushing music should sound like. Maybe at times he decides to add something that doesn’t quite fit, or you don’t see the point of. But then he does something that just seems absolutely right. ‘Silo The Fire’, for example, doesn’t sound like a song as much as it sounds like a slab of emotion (oh wow that sounds cheesy). If you don’t ‘get’ it, then fair enough. But you can’t deny that it’s quite impressive.

Pity Cara Mitchell then, for having to follow what was essentially a one man symphony, armed only with her acoustic guitar. Thankfully, she more than held her own. There’s something of a shock as her small, clear voice first rings around the venue. It’s really quite arresting. While the support acts had to endure a smattering of noise coming from the back of the audience, every single eye and ear was trained directly on Cara Mitchell. You’ll be hard pushed to find another voice like it – sort of Ellie Goulding, but less airy. When it’s paired with her naturally expressive guitar work, it sounds amazing. There’s the occasional unorthodox inflection, or unexpected note that intrigues rather than jars. It’s not – or it doesn’t sound – too over-thought. There’s a real beauty when she hits a chorus and gives it some conviction.

The songs both are and aren’t what you’d expect from a 16 year old. She writes about cats. She writes about Facebook. She has a song called ‘Little Birdies’ for heavens’ sake. It could all be unbearably twee, but for the most part she isn’t so naïve as to make the lyrics obvious and generic. ‘Next October’ soars. ‘Have You Ever Wondered?’, the title track from her new E.P. is both refreshingly youthful and well considered. At times it maybe feels like there could be more of a connection between the voice and the song, but this can only improve naturally with time.  It’s clear that Cara Mitchell has incredible potential, and it’ll be interesting to see how she grows over the next few years. Aberdeen has a unique talent.

Find Margaret Finlayson on Facebook and Twitter.

Find Esperi on Facebook and Twitter.

Find Cara Mitchell on Facebook and Twitter. Her new E.P., Have You Ever Wondered, is available from various outlets, including Itunes.

Alan Henderson

Sienna – Lonesome Man E.P.

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Sienna are a 6 piece folk/acoustic band from Kinross. At their core is a great acoustic arrangement with a very varied assortment of instruments (what exactly is a shakey egg?) Their sound could be likened to Mumford and Sons – perfect for those that fancy some more music to add to a sleepy/chilled playlist.

The lead vocals from Danny Mcatear are soothing whilst also being rough (an oxymoron I know) and are complimented by the female vocals which pierce through the warm atmosphere that the songs create in a strange way. Since their founding in 2011 the band have acquired two new members, changing from their original name Brothers & Lovers to Sienna. One of these new members is Stella Rielly who provides the female vocals. At times these vocals seem to a bit misplaced – like an afterthought to the original song. Also, some of the harmonies appear to need a little work which is most apparent in the first track ‘forget me not’. Despite this Mcatear’s husky voice and Rielly’s gentle tones generally work really together to add an extra dynamic, particularly expressed in ‘Slow Down, Slow Down’.

Initially all the songs sound very similar, however once you really get into this EP all the tracks start to develop very different identities.  Most of the songs are alike in that they take you on a journey. But within the context of the EP, the songs hop about and appear to have no logical path. Despite the title, ‘Lonesome Man’ is one of the liveliest tracks on the EP and one of my favourites. It has a driving beat which starts off quite slow and then dramatically changes direction.  This is definitely a band that I would like to see live, where I can imagine they really excel. A truly unique and interesting style that with bit of fine tuning could be amazing.

Bailey Johnson

 

Hard Rock Calling – Bruce Springsteen and the E Street band + John Fogarty + Lady Antebellum

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Bruce Springsteen has been part of the soundtrack of my growing up and my parents’ musical education of me. So off went myself and various Springsteen loving family members with wellies and waterproofs to a very muddy Hyde Park for day two of Hard Rock Calling. Although a festival, it was very clear that we were all there for The Boss and The Boss only.

The first band we saw were Lady Antebellum who sufficiently entertained the crowd with their blend of angsty-soft-country-pop-rock, despite frontman Charles Kelley freely admitting they knew no one was really there to see them, but to wait patiently for the Boss. But nonetheless I was impressed by them. The songs were a little samey, but they were enjoyable to listen to.

Next on the bill was the grandfather of rock and roll: John Fogarty, the legend of the blues rock and swamp rock of the early sixties. First glimpse of The Boss came as he introduced what he described as one of his music inspirations and excitement swept through the crowd. Fogarty’s set was one of highs and lows. When he played hits such as “Proud Mary” and “Pretty Woman” we were having a grand old time, however some obscure stuff with improvisation was a little hard to take. But at the end our Bruce came on and they sang “Rocking All Over the World” together which was a brilliant moment for the crowd.

Then there was a rather long wait before “Bruuuuuuuuce” (as the fans call him at gigs) the man himself made his appearance to the adoring crowd. He began very simply with a beautiful stripped back version of ‘Thunder Road’, with just a piano accompaniment, which was a perfect start to the show. The one thing I must say about The Boss is that he comes across as the nicest guy ever known to man or woman. His interaction with the crowd went above and beyond the normal performance of a gig this size. It was touching how appreciative he seemed to the fans and it gave the gig an almost intimate feel, odd for being one of 80 000 in the crowd. The music was, of course, fantastic. He has been playing with the E Street Band since 1972 and it shows. All the musicians worked so well altogether. There was one particularly special moment: He pulled a sign from the crowd, written by a fan desperate to hear an obscure track and had been to 6 previous Springsteen gigs and not heard it. So they played it for him as if they had played it everyday for years.

They played a brilliant mixture of songs with special appearances from Tom Morello (of Rage Against the Machine fame) who played with them for a few tracks inlcuding ‘The Ghost of Tom Joad” which was played as a tribute to Woody Guthrie (folk/protest pioneer most famous for ‘This Land is Your Land) whose centenary it would have been that day, and another team up with John Fogarty. Personal highlight (if I have to pick one, the whole thing was fantastic) for me was probably ‘Dancing in the Dark’ – even though it was accompanied with ultimate pangs of jealousy as he picked out a girl from the crowd to dance with him. That girl was not me (I will not be ashamed to say I fancy the pants off Bruce Springsteen). There were also some lovely moments involving the sax player, nephew of the late Clarence Clemons, after whose death many questioned the continued touring success of Springsteen and the E Street Band as they are far more than just his backing band. So much happened that was so, so brilliant – there is simply not enough time or space to say it all here. His ability to mix the upbeat, jump-around tracks with the beautifully poignant (like ‘Jack of All Trades’, from the latest album) made it an almost perfect set.

Of course I must mention the appearance of Sir Paul McCartney, who joined him to play “I Saw Her Standing There” and “Twist and Shout”, which accompanied by fireworks made a brilliant finale. The gig was controversially cut short by the organisers as Bruuuuuce had played for almost three and half hours (which considering he and much of the band are in their 60s is really quite astounding) and therefore past the 10.30 curfew. This was a real shame since it had been such a wonderful, wonderful night and it just had not ended quite right. Despite this, I learnt The Boss is called that for a reason, and I suspect that was the best gig I will see for a very long time, since I do believe that both he and the wonderful E Street Band belong to that elite group of musicians that can be classed as legendary. And if I do ever see him again, I WILL be the girl he picks out of the crowd to Dance in the Dark with!

Holly Abbott

Skinny Lister – Forge & Flagon

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Skinny Lister may not be a name that you are familiar with, but if there is any sort of justice kicking about, then surely it is one that you will soon know and love. For those unlucky enough to not yet know the utter brilliance and majesty of Skinny Lister, I shall give you a quick rundown. Skinny Lister are a merry band of buccaneers from the 18th century who are found of sailing and drinking. Well no actually, that’s total nonsense. But whilst they physically are an excellent bunch of musicians, their spirit could certainly be described as what I previously wrote. You see Skinny Lister (Daniel Heptinstall, Lorna Thomas, Maxwell Thomas, Sam ‘Mule’ Brace and Dan Gray) sing spectacular, uplifting tunes of seafaring and the like using more traditional instruments (like fiddles, ukuleles, accordions, a stomp box, mandolin and the like) to create a sort of ‘folk’ type sound. Ok, I’ve said it out loud now, and whilst the mere mention of the word ‘folk’ will have many departing in their droves, you need to know that when it comes to Skinny Lister, large woolly jumpers, pints of bitter and other such connotations are not applicable. Instead think more of foot stomping, wild dancing and glasses of beer and rum raised aloft in a raucous sing along. Quite simply, Skinny Lister are all about a good time. And the tunes that comprise Forge & Flagon (named after a pub!), their debut album, are proof of this.

Skinny Lister, last year crowned ‘The Hardest Working Band In Britain’, have spent the last couple of years tirelessly touring the UK, playing gigs anywhere and everywhere to rapturous receptions. They’ve used this time and previous EP releases to hone their song writing and musicianship, and have perfected their craft to become unsinkable and as tight as an Admiral’s trousers. They have poured this craft into the lovingly created body of work that is Forge & Flagon.

The album opener, old favourite ‘If The Gaff Don’t Let Us Down’, sets out their stall and the tone of the album is clear for all from the very first note of the accordion. This is a furiously fun track, and will have you stomping your foot so much and so hard that it will either put a hole in whatever you’re stomping, or it will simply fall off. Whatever happens first. The shout along vocals that see the whole band merrily roar lyrics back at you invoke visions of people with their arms around each other, flagon of mead in hand, belting out a favourite ditty. If you thought that this track is a good sing along, the very next track, ‘John Kanaka’, is even more of a sing along, featuring almost no instruments.

The sense of fun and cheer is evident throughout the album, and if you can’t smile at songs such as the delightful ‘Rollin’ Over’ then it’s possible that you are dead inside. The musical arrangements are never complicated yet are always memorable, vastly entertaining and, dare I say it, downright charming. I simply can’t fathom how someone cannot be charmed by a song such as ‘Seventeen Summers’ or the dreamy ‘Plough And Orion’. And I defy you not to fall in love with the rich tapestry of lyrical storytelling that weaves delightfully throughout the album. Tales of weddings, the flights of birds, sea based adventures, yearning for home and love are just some of things sung about, and with great gusto.

Probably the best thing about this album though is that it feels like an inclusive experience, in that when listening to it you really feel that you are taking part in what the band are singing, be it in the story or the telling of it. When listening to this album, I always have a smile on my face and I’m always singing along and stomping my foot or tapping my toes or moving in some way to the music. Skinny Lister have somehow found a way to be right beside you when you listen to Forge & Flagon, and it’s that that makes it so utterly wonderful. This is absolutely album that you simply must own. A contender for album of the year.

9/10

Stuart Manson