Rochelle Mills, Author at STAGING Maverick

Review: Steve Yanek ‘Across The Landscape’

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Steve Yanek ‘Across The Landscape’ Primitive Records The arrangement and production of ‘Across The Landscape’ compliments Yanek’s vocals well; there is room for them to take centre stage, yet each part serves a meaningful purpose. In the stripped back ‘Emily’s Eyes’, whilst the lyrics have a simplicity about them, the intricate arpeggiated guitar and mandolin parts which feed off each other give a slightly longing feel to the song. Whereas on the Jazz infused ‘Quarter Moon’ and the folk-rock ‘Got To Hear You Say It,’ there is room for the musicians to showcase their talents, particularly guitarist Jeff Pevar, however by around track 8 the instrumental solos can get quite tiring. Although I applaud the variety channelled into this record, it lacks a little direction in parts, as if Yanek hasn’t quite figured out his identity as an artist just yet. I long to hear more of that fire and grit he achieves in the rock influenced ‘Dance With You’, there’s just a couple of songs that feel misplaced on this project. However, the songwriting comes from an honest and authentic place and is set to the backdrop of a high end, well thought out production that suits Yanek’s vocal style. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Phil Hooley ‘Songs From The Back Room’

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Phil Hooley Songs From The Back Room Phil Hooley, frontman and founding member of alt-country band The Woolgatherers, has teamed up with former Nashville drummer and producer Justin Johnson for his first solo project which they recorded in Scarborough. The emphasis of this record is on the songwriting, particularly the stories the lyrics tell, all framed by a traditional country arrangement. That Same Old Song is a classic story telling, mid-tempo country-folk song, made ever more consequential by Hooley’s unpolished vocals. Whereas on Pour Me A Drink, Hooley shows his lyric writing abilities as he pulls out a clever hook “Pour me a drink and I’ll pour out my heart.” It’s an upbeat track despite it’s sad undertones and it’s on this track that Hooley’s vocals are at their strongest. Ballads like River Of Dreams and It’s Time We Said Goodbye though beautifully written don’t suit Hooley’s vocals as well. The latter closes out the record and holds a lot of emotion, something which is hammered home by the use of the countermelodies on the fiddle. It’s not the most polished album but what it does, is showcase Hooley’s storytelling abilities within his lyrics and you can hear the influences of Guy Clark and John Prine in his writing. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Parker Millsap ‘Be Here Instead’

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Parker Millsap Be Here Instead Okra Homa Records/Thirty Tigers Parker Millsap returns with his fifth studio album but it is a departure from what we’re used to from Millsap. The gritty, high energy folk music of his previously releases like ‘Other Arrangements’ and ‘The Very Last Day’, is replaced with an adventurous, kaleidoscopic sound. The lead single on the record, The Real Thing, sets the scene nicely giving us a taste of what’s to come sonically. Though still littered with clever lyricism “I been through your roses, honey/I don’t mind the thorns”, we hear a determination to reinvent himself on a song which has taken on new meaning during the last year. Though he originally wrote this whilst touring and missing his wife, that desire to really connect with someone has been potent for many during 2020. We hear a glimpse of his former self with the acoustic undertones of the softly sung, In Between. This stripped back, authentic track is refreshing and a stand out on the album. It is worlds away from Dammit which culminates the new direction in which Millsap is heading down. There is a fieriness to his vocals as the electric guitars ramp up around him. The storytelling lyricism of his past records is not completely gone but he demonstrates a more introspective take on lyric writing. This is demonstrated in the track Vulnerable, which Millsap wrote when he was newly married. In the song he shares simple snippets of wisdom with listeners as he insists “it’s never really worth it to try to be tough”. Millsap continues to explore and experiment in Now, Here a synth-driven track that leaves lots of room for lines to linger. I like the boldness of this record. Parker Millsap finds himself wandering down a number of rabbit warrens in a quest to find out what his subconscious really has to say. The majority of this record was recorded by his band live in the studio and there is a feel of collectiveness throughout this record no matter what the musical backdrop is that he’s currently exploring. Though I don’t think fans will love every single song on this album, I do think everyone can find something to take away from this record, a song or two that they can really connect with. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Forty Elephant Gang ‘Next Time Round’

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Forty Elephant Gang Next Time Round Independent The debut album from Forty Elephant Gang has introduced them to the scene in an explosive fashion – Songs Of Praise is an audacious way to kick start a project. It begins with a catchy refrain ‘I got an open mind Lord, I got an open mind’ and keeps on building throughout, although the break towards the end feels a little uncomfortable and perhaps a bit forced but the band open the album strongly. The mandolin is used to great effect throughout the record; the textures they create by blending the Cello and Accordion with the Mandolin and Slide Guitar are invigorating. An example of this comes from the song Strange Things Happening. The melodies and harmonies in this song make this a stand out track – sonically it wraps around you like a warm musical hug. Meanwhile, Jealousy does quite the opposite, the staccato introduction offers a taste of what’s to come lyrically. In fact, the music is so intriguing throughout this track – it is well arranged. I’m really impressed with the level of musicianship from this band. From tiny shoots grow big trees and I can’t wait to watch this band blossom. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Deborah Henrikkson ‘So Far’

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Deborah Henrikkson ‘So Far’ DH Productions Deborah Henrikkson’s voice is spellbinding throughout the 21 track album. The Swedish-American singer-songwriter fuses her contemporary folk and Celtic influences perfectly on this haunting new record. Early on we’re introduced to the backing vocals which are highly effective. The production and instrumentation throughout is well thought out and gives Henrikkson a clear, unique sound. ’Fly’ boasts an interesting instrumentation with both the Cello and Flute playing important roles, helping to capture the loneliness and eeriness of the track. Their is some vivid imagery used within the lyrics which paints a clear picture in the listeners mind and conveys the message of each track. ‘Wild Fire’ begins ‘Raging trees in colours cry, Seething crimson in the sky.’ The language is creative and bold yet there are pop sensibilities within the chorus as Henrikkson uses repetition to help that hook linger in the listeners mind. Throughout the record the lyrics remain very abstract and we are not overloaded with unnecessary words. It’s an album that really shines a light on the relationships between a good production and interesting vocal melodies. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Chris Andreucci ‘What Don’t Kill You’

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Chris Andreucci ‘What Don’t Kill You’ Century Music Group The Scottish singer-songwriter is back with the six song collection, ‘What Don’t Kill You’. Infused with the typical country instrumentation of guitars and pedal steel, Chris takes us on a journey of reflection and the lessons he’s learnt; from the catchy, up-beat opening track ‘Here Comes The Rain’ right through to the closing track ‘Freedom’. Throughout the EP you can hear the influence Luke Combs has had on the young scotsman and it is littered with clever lyrics amongst the odd cliche’ like Tennessee Whiskey. Though Andreucci delivers a high energy, fun-loving performance on this record, we hear a more delicate side to him in ‘Tonight I’m Yours’ and ‘Thunderstorms and Rain’. The former is a real stand out track on this record as he mixes his Gaelic roots with that Nashville sound, whilst ‘Thunderstorms and Rain’ feels like a deeply personal song of love and loss. Produced to a very high standard by Justin Courtelyou, who’s worked with the likes of Taylor Swift, Paul McCartney and Lady Gaga, Chris Andreucci has delivered an outstanding EP that can stand up against any of the records the rising stars of America are currently releasing. He is certainly one to watch! To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Catherine Britt ‘Home Truths’

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Catherine Britt Home Truths Beverley Hillbilly Records Britt’s soft, sweet vocals are the heart of this album and have a similar tone to that of Ashley Monroe. The Australian songstresses latest album is her most personal one. After moving away from Nashville and back to Australia, Britt’s sound – though as authentic as ever – has shifted to channel the 90’s and early naughties country sound that first helped to launch her career. She continues to draw upon real life experience as she talks of being a mother and a daughter in the songs Gonna Be Mumma and Mother. Meanwhile the real stand out track is Hard To Love, the duet she performs with acclaimed singer-songwriter Jim Lauderdale. The use of traditional instruments such as fiddle and slide guitar bring this record to life and really support the journey that Britt takes you on. This is especially evident in the final track Long Way Around which serves to evaluate Britt’s journey, her falsetto in the chorus is beautifully controlled and the solo on the slide guitar is refreshing to hear. There is a strong identity throughout – a fiercely independent woman and proud mother, deep seated within her country roots is telling her truth and I highly recommend you listen! To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Jess Moskaluke ‘The Demos’

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Jess Moskaluke The Demos MDM Recordings Jess Moskaluke has teamed up with an array of impressive writers for The Demos; proven hit songwriters such as Emily Shackleton (Reba McEntire, Carly Pearce), Liz Rose (Taylor Swift, Little Big Town) and Corey Crowder (Florida Georgia Line, Chris Young) to name just a few. Moskaluke co-wrote every track on the record and teaming up with this hit list certainly paid off as the opening track Country Girls topped the Canadian Country charts. Lyrically there is no hiding her country roots as she sings about small town life on Mapdot or her cowboy boots in Nothin I Don’t Love About You but the majority of the album is masked in a heavy Pop production, aside from the odd token banjo. Melodically it has that pop sensibility too – the songs are built around big, catchy choruses and there are some clever lyrics and pay-off lines. Vocally, Moskaluke is very strong, reminiscent of a young Carrie Underwood. The record showcases all sides of love with an up-beat backing track to accompany Moskaluke’s thoughts. Leave Each Other Alone features Travis Collins, the only duet on the album feels to be the centrepiece of the project. Boasting a strong chorus and passionate lyrics, Moskaluke and Collins sing well together. The Demos are just that, 8 songs that never made it onto other records. Unable to travel due to the Covid 19 restrictions these songs were polished up and produced virtually. For a set of songs that never really made it onto Side A, it’s an impressive collection! To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Lainey Wilson ‘Sayin What I’m Thinkin’

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Lainey Wilson Sayin What I’m Thinkin Broken Bow Records Lainey Wilson returns with that fiery spirit she’s demonstrated before on songs such as Middle Finger and Waste of Good Whiskey. This time she teams up with producer Jay Joyce for an often unique and quirky arrangement of these 12 songs. Joyce injects just a little more personality into what was already a unique ‘Bell Bottom Country’ record. The previously released single Things A Man Oughta Know which Wilson co-wrote with Jonathan Singleton and Jason Nix, showcases her country roots and lyricism. A traditional arrangement accompanies this cleverly written, mid-tempo song whilst on the anthemic Small Town, Girl, Wilson shows off the strength of her vocals as she fires off a warning shot to anyone who thinks they know small town girls. The dynamics of the record are on point and Joyce knows how to bring the best out of the artists he works with. In the title track, he gives Wilson’s vocals space whilst still driving the song forward and complementing the emotion she is conveying with the sparse production. That brings us back to the conversation of Wilson’s vocal abilities, we all know her vocal tones are beautiful and pure; she has a lot of control but the vulnerability she manages to channel in Rolling Stone and Sayin What I’m Thinkin gives the lyrical content more weight. Talking of lyrics, Wilson has a way with words. The list song Keeping Bars in Business is a stand out track; “Someone’s celebrating, while someone’s heart is breaking’. Co-written with Jordan Schmidt and Matt Rogers, the simple yet effective melodies wistfully take the listener back to a bar with their best friend. I found myself humming along to this track. Wilson stays true to herself as she delivers 12 top quality songs that showcase both her delicate side and her boldness as an artist. Though comparisons could be drawn from song to song, ultimately Wilson sets herself apart from those around her with her ability to bottle up all sides of her personality and present it in a feisty album. Wilson is no longer an up and coming star or the future of country music, she’s arrived with this record, her time to shine is now! The album is available initially now but will be released in physical format on April 16th in the UK. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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Review: Jonas Carping ‘The YLA Sessions’

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Jonas Carping The YLA Sessions Independent The alt-country music of Jonas Carping is unassuming, stripped back but despite the simplicity of the production it is delivered in the most beautiful and pure way with interesting acoustic guitar parts dominating. The Swedish writer teams up with Sigrid Carping for vocal support on this release and their voices harmonising together is as smooth as caramel. Though upon first listen Carping’s voice sounds nervous or shy, the tonal quality and control he displays within ‘Moonlight Parade’ not only surprised me but excited me. There’s detail and imagery within the lyrics and an intimacy within the delivery. “Turn your headlights on, light me up another cigarette, tomorrow it will be gone” – the way the pair phrase that line is magical. We begin to hear the rock influences within ‘Forgiven’ and ‘The Straight Line’ as an electric guitar is introduced and Carping’s vocals strengthen, taking on a slightly more scornful tone. As the album concludes with the anger of ‘God’s Gonna Cut You Down’ it’s clear there’s a theatricality about Jonas Carping’s music. He is an intriguing artist who has achieved a certain intensity with this album despite the simplicity. A prime example of how less can be be more sometimes. To stay up to date on the latest country music news, please register to receive our newsletter here. Media contact Zoe Hodges, Editor, Maverick Magazine Tel: +44 (0) 1622 823920 Email: editor@maverick-country.com

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