I’ve been listening to this album on and off for the last week trying to formulate a way of starting off this review but never really feeling like I have enough information to give a review befitting what occurs within the 10+ tracks of this collection of songs from Swindon’s ‘grown-up Country’ specialists, so I find myself returning to the album to try and kick my ears into instructing my hands what to write.
And it’s proving difficult.
I think maybe the best place to start is with the warning; don’t get comfortable. This is not a generic album by any means and is happy to make you tap your feet and slap your thighs as it is in giving you a dizzying moment of “well where the hell are we going now!?”.
I’ve made no secret in previous reviews that I like opening tracks and this album’s opener starts in moody, Sergio Leone territory, a land of squawking buzzards overhead, dusty plains, creaking salon doors and a lone church bell ringing, it’s quite cinematic, it’s dramatic and you settle down for a dip into country music but no, this isn’t that kind of a show cowboy, after 35-40 secs we’re replacing that atmosphere with a bouncy opening track called ‘Let It Go’ which almost acts as a piece of advice because if you had any preconceptions about what to expect from this band, forget it, let it go because what you can expect – other than well written songs and more than a nod to the macabre – is the unexpected.
Tread carefully because this path isn’t familiar to most.
The music runs a deftly course between the dark ‘deal-with-the-Devil’ country music through the blues of the whiskey joints of Alabama, Mississippi and Louisiana where ghosts sit on the shoulders of wandering strangers, into rock and maybe even a little indie-rock. It wears it’s heart on it’s sleeve and the songs are songs of regret, often loneliness but definitely of experience the running order of the songs at times feels like they are going through certain emotions from loss (in Let it Go, Thrown Away, Water) to acceptance (Born to Walk Alone) to resolve (in Pheonix, I Curse Your Name and the demented but crowd roaring Black Sheep Apprentice) and they are all delivered with a voice sounding closer to Geddy Lee of Rush than the storytelling voice of Johnny Cash. Another leftfield twist.
I would have liked to have heard more growl on the bass at times and a few of the songs could have been shaved here and there but one man’s snack is another man’s feast and this is a big album, an album that gives you a lot of bang for your buck and doesn’t skimp on what’s included, which seems to be the band’s heart, blood, sweat, tears and balls!
After hearing what the band can do I’ll be catching them live very soon, there seems to be energy in spades on offer here that can only be best experienced live, so give the album a listen and catch a gig or two.