2021

This EP feels rather misplaced in Maverick Country with it’s heavy pop production, but the songwriting is still good. From start to finish the Australian duo’s latest offering is littered with catchy hooks and melodies, from the chorus of ‘I Found Me’ to the pre-chorus of the title track. That’s the stand-out song for me as Ruby’s vocals seem to soar over the dance beats as she takes you on a journey from first meeting someone, locking eyes across a crowded room to the heartbreak of it being over once again. Ruby’s vocals shine once again on the track ‘Something to Believe’ as it begins acapella before opening up into an up-beat electro-pop track. To conclude, this album is filled with fantastic melodies and lovely vocal work and the duo have a lot of potential within the mainstream Pop/Dance world. Keep your ears peeled for President Street, they’re certainly going places! 

The Last Inklings, made up of multi-instrumentalists David Hoyland and Leonardo MacKenzie, explore the world of folklore and myths on their debut album ‘The Impossible Wild’. Their storytelling lyrics set to symphonic arrangements are something to be marvelled at. Making use of the Cello and Mandolin to great effect the pair’s sound is unique and inspiring whilst their vocal harmonies blend well together. A couple of standout tracks come in the form of ‘Sleeping Giants’ and ‘The Unkindness of Ravens’ the latter of which is particularly poignant as they bring to life an old legend of Badbury Rings. The mandolin is haunting in the intro, setting the scene from the start. It builds with the introduction of the Cello and David’s vocals. Meanwhile, to contrast, ‘Sleeping Giants’ begins on a much less intense note, it’s relaxed yet sombre. The record ends with the instrumental ‘White Rabbits’ which brings to the spotlight the musicianship displayed by the pair. It’s a wonderful debut from an interesting and exciting duo.  

The Outlaw Orchestra have always crafted a unique sound, fusing their love of country music and rock ’n’ roll. ‘Makin Tracks’ expands their scope as well as giving their loyal fans what they know and love. The gravelly tones of Dave’s vocals shine throughout but especially on ‘Done My Time’, the country-rock enthused first single off the record. ‘Enough About Me’ keeps the tempo high, a well produced track with some top quality musicianship which shines through whilst ‘Sea Legs’, another highlight, takes things slower and the production, slightly sparser leaves room for the lyrics to shine. The aptly named ‘End of the Line’ concludes the record, a short stripped back simple track signifying the end of the album and that it’s time to put it on again! 

The band create a unique soundscape with their new album; drawing upon their Americana influences they blend this with pop sensibilities, the traditional instrumentation stripped away. However, it is their most personal collection to date as they explore heartbreak, depression and isolation. Despite how that sounds, there are moments of jubilation punctuating the record too but throughout, storytelling lyrics are at the heart. The stripped back ‘I Found God’ is a real gem on the record, so delicate and intricately crafted Bryan’s vocals quiver slightly adding to the weight of the songs lyrics. Similarly, ‘The Understudy’ takes a more gentle approach as well but there is an element of humour in the lyrics which suits the band. The record concludes with ‘Take It Out On me’ an upbeat, number with some brilliant melodies and instrumentation. I feel like the record comes back to its roots the more it progresses and the writing grows stronger with every song. 

Fisher’s latest release is his most authentic to date, with him writing or co-writing all of the songs, it is both patriotic and passionate. A true outlaw country artist, Fisher isn’t afraid to say it like it is, his gravelly vocals add weight to his statements. ‘Whiskey and the Dog’ is a stand-out, despite it’s sombre tone it is packed full of humour, especially in the list-lyric chorus. In fact there is comedy mixed in throughout the album which gives it a unique flavour. His pride for his country comes out in ‘The Good Ol’ U.S. Of A.’ the former veteran delivers a positive and inspiring message to his listeners, showing his gratitude for the life he leads. He pays homage to the southern lifestyle in ‘Jesus, Haggard & Jones’, the pedal steel and vocal harmonies really making this song complete. A fantastic production supports clever lyrics and catchy melodies, a must have in every country fans collection. 

This record is exactly what it says on the tin; it was recorded over two days in a church in Terlingua, Texas. It was recorded during his break Edrington’s break from The Hoth Brothers but sonically, it is not much of a departure from their Appalachia, Americana sound. I adore the twang and tone of Edrington’s voice as he sings the opening track ‘Ramblin Man’ which paints an image out of a western in the listeners mind, “trouble’s never been that far, all the deals gone bad in the back of the bar.” There is a rawness and authenticity to his sound. ‘Shut the Screen Door’ is more of a country ballad with the pedal steel swirling around, doubling up at times with a fiddle. It is a particular highlight on the record as is ‘Strange Balloon’ which takes the record sonically in a different direction. It brings a haunting sound as it questions and contemplates whether there’s other life out there and if they perhaps act a little better than us. It’s a fantastic, well-rounded record, a joy to listen to. 

The duo, made up of singer-songwriter Iain Matthews and guitarist/singer-songwriter/producer  BJ Baartmans, came together to find solace in co-writing during the pandemic. The result is this unique collection of colourful songs. It opens with the gentle tones of ‘Sleepwalking’, the slow, soothing tempo matching the lyrical content, laid-back drums keep it moving forward whilst the tone of the electric guitar is lovely. It also tackles topical themes of racism in the aptly titled track ‘Are You a Racist’. The stripped back ‘Here’s Looking At You’ allows the pair to demonstrate how their vocals blend together but there is an element of sadness to the song. To summarise, the soundscapes they create are unique but soothing throughout and their lyrics are sharp. It’s a well-worked record that should make for a good, acoustic live set too. 

The primarily acoustic album from Dutch singer-songwriter Eric Devries is full of passion, humour and in depth storytelling lyrics set to a folky, bluegrass backdrop. Featuring traditional instrumentation, such as banjo and fiddle, Devries tells stories about unrequited love and real people who have resiliently overcome the struggles of everyday life. ‘Jericho Walls’ is a well written track with an interesting fiddle solo and some great lyrics; “I never saw the rose’s thorn could be a poison dart.” There are some lovely harmony vocals from Sophie Janna too which further adds to the record. ‘All I Know How To Do’ sees Devries’ vocals at their very best, they’re warm and soft as he maintains a lovely tone, whilst your toe will automatically start tapping along to ‘Another Round’. The fun loving track is a highlight, I particularly like the backing vocals in the chorus and bridge. To summarise, it’s a tidy offering from Devries, with a nice mix of themes and emotions.    

Upon first listen I recognise that this is Sinclair at her very best. The folk singer’s lyrics are both intricate and inspired as she uses her words to paint vivid imagery in the listeners mind. Her vocals are smooth, Sinclair has a lovely tone to her voice and the production gives them space to linger. ‘Blankets and Stones’ is a stand-out track, an arpeggiated acoustic guitar lays the foundations as a slide guitar swirls around the vocal melody. The chorus welcomes some lovely harmonies on the lead vocal, helping to reinforce the impact of the lyrics, which are superb; “No redemption when a blindfold has holes.” The title track sees Sinclair’s vocals develop a slight edge to them, a more haunting sound dominates the verses. Meanwhile, we experience a shift, sonically, in the final track ‘The Sail’ as drums and electric guitars dominate a more up-beat track. I’m impressed with the production throughout the whole album, it is well arranged to compliment both Sinclair’s vocal style and be reflective of the lyrical content. It is designed to serve the song. It’s an outstanding effort from Sinclair who is back to her best on ‘Ghost Bones’.