Review: Mull Historical Society – City Awakenings
It’s little more than a few notes into the chiming percussion and trotting guitar led instrumental to opener, ‘Must You Make Eyes At Me Now’. That you realise how much this band, once voted twelfth greatest Scottish band of all time, have been missed during their lengthy hiatus. When the strained and genuine vocals of Colin Macintyre kick in, then a pondering stirring, blues layered intro, makes you just want to yell “welcome back guys!” at your IPod or choice of music playing medium. It blends neatly into the churning, more vocal grizzle inclusive attack on false lovers, ‘Can You Let Her Know’.
‘Must You Get Low’, shows that the old school indie bands are still the best at the pace chilling, slow-burning and stirring ballad, as this concept album that explores the importance of cities takes a bracing nostalgic pit-stop. A lively, digitally toed edge ups the tempo for ‘Honey Pie’, as Macintyre’s vocals take on a more dramatic, strained edge and increase in profile to match that of the instrumentals. It shows that eclectic adventure is still within them.
Of course, the lyrics still hold meaning, heart, reflection and food for thought. With the slow, stirring and nearly wooing backing spiced, ‘This Is Not My Heart’ being a prime example of this:
“Love letters of stone won’t set alight: I am alone in your lie.
I was awake just thinking of you.”
Usually when an evergreen, what some people would call veteran band reunites six plus years after their last album, it makes you question their motives and even desire. Are they doing it because all other avenues have led to a dead end? No, not in this case; Mull Historical Society still has something to say and some cities to explore.
Anja McCloskey- A Kiss
A rustic orchestral kick and winding strings leads into the soaring soulful and folk touched vocals of multi-instrumentalist Anjie McClusky, ‘A Kiss’. Her straining stammering voice is not used to it’s full potential and gets submerged in the uneven clang and clatter of the various string and accordion inclusive instrumental. Anger is striving to get out and needs more emphasis, at the moment the song comes across as a bit of a strop about selfishness.
‘Black Coffee’, is almost a subconscious, direct response to the above constructive criticism, as McCloskey’s eloquent, slow turning voice is given more profile in order to uncover unscrupulous ways. McCloskey’s stammering and rising accordion touch, helps the instrumental tempo to stroll hand-in-hand with the increasing folk flavour of her vocals. Swap this number to A-side status and this Hampshire songstress has gotten herself a reputation building single.
Ellie Lawson – Lost With You EP
Pitching a stall between the vocal quirkiness of Bjork and the searching tones of Alanis Morissette, backed up by a stretching guitar push and toe tapping percussive rubs to illustrate the longing on display, ‘Lost Without You’. Lawson combines aching tendencies with a soothing, yet sombre touch that builds upon a rhythmic platform, providing for movement of the mind and body.
Gospel backing, carefree whistling and a soulful folk feel, lends more pace and a feeling of ease to ‘Change the Way’. Philosophical lyrics bear out the life-delving. An Eliza Doolittle slant to the vocals, underlines the points made about perspectives on life. This approach is immediately contrasted by the pleading, echoing, bass propelled and soul-pop lagged, ‘How Hard We Try’.
Ardent dedication to song and mood building is a noticeable feature throughout the five track EP that builds up a charming pop base, but isn’t afraid to wander off from it. ‘Ba Ba Da’, finishes things off in a chiming, melodious and low-key, lullaby spirited manner. Putting an exclamation mark against previous points made about Lawson’s singer/songwriter prowess and adventure.
Review: Little Roy – Lithium
Veteran jazz-funkster Little Roy plucks another plum from his Nirvana heralding album ‘Battle For Seattle’. ‘Lithium’, is the sort of track that is out there to be embellished, but the task of jazzing it up isn’t as easy as it sounds. Little Roy’s gritting over of his vocals means that the murkily mysterious lyrics get drowned or horned out, at times.
Some of the grit and gruel is removed from the original, but the pedestrian percussion and hounding horn lag brings out a different forlornness. More of a groove inducing vibe is imparted to this classic grunge number and, Little Roy’s added profile gives the song a Jools Holland and radio friendly edge.