It has been a long time since we have heard from 'LM', too long in fact.
'Sun Song' may just be a mere demo, but it shows amazing progress since 2017s debut album 'Nursey Rhymes for the Apocalypse'.
Inspired by, well in LM's words "This is probably not a traditional sun or summer song in any way, shape or form. It came to me one evening at rush hour in Euston Station while waiting for a train home, but I don't think it reflects any of the bustle that surrounded me at the time."
Such a simple basic rhythm builds the tension, added to that a superb double tracking vocal, multi layered backing vocals, this is a slow and brooding example of well crafted Neo-Folk with some very dark lyrics, oh the sun may be bright yet somehow the line "Let it burn" takes on a different meaning.
I look forward to more demos and hopefully a full album in the near future.
Rating 8/10
For Fans Of: Galley Beggar, Comus, Lisa Gerrard, Alison Cotton, The Trees, Helga Pogatschar
Steven C Davis (Additional Vocals) On ‘(We Stand) Behind
You’ and ‘End of the World’
Say Folk Music to most people and they will instantly think
of bearded men in Arran jumpers singing traditional songs about maidens, death
and ships sailing from port never to return, with one finger in their ear and
the other hand grasping a pint of some awful warm brown liquid that may have
some vague resemblance to a drinkable ale.
But this style of music that originated in the 19th
century has also evolved into sub genres that include progressive rock and even
some styles of extreme metal.
In the late 1960’s a style known as Acid-Folk emerged with
bands such as Comus, Saturnalia and Dulcimer.
Over the last decade this style has found a new generation
to mesmerize with artists as diverse as Galley Beggar, Circulus and Blood
Ceremony.
So now we turn to LM Cooke, one time violinist/ main
songwriter in Broadarrow Jack, then singer/ songwriter with the folk-rock band
Crimson Clocks.
Not only a superb songwriter but a much respected author of dark
fantasy/ science/ mythic fiction novels and short stories.
It now seems we must add multi talented instrumentalist, music
producer, mixer and engineer, as she makes her solo debut.
While there are indeed songs of ships and traditional songs
with new arrangements, there is a wealth of totally original songs with a dark
and twisted edge that mixes the various sub genres of folk to include gothic,
horror, psychedelic and acid in her own style.
We start with ‘Poor Jenny’ a ghost-ship song based on the
story of the English schooner, the Jenny which in 1823 became frozen in an ice
barrier complete with crew. This song was originally written when Miss Cooke
was with Broadarrow Jack.
This updated and rearranged version has some haunting dual
tracked vocals over a simple but highly atmospheric backing, the use of wind
and water samples adds to the overall feel as if you were listening to it by
the seashore.
Next up is ‘Yellow Eyes’ a song about a wolf, or is it I ask
myself, “A wolf in your mind” as the lyric goes brings to mind a hint of Robert
Calvert’s musical interpretation of Hesse’s ‘Steppenwolf’.
Imagine if early Bauhaus had a female vocalist, if you can
then this would be the result, from its near proto industrial drum tracking to
gothic guitar and echo vocals this one blasts through the speakers and then
towards the end turns to pure acid folk. Stunning!
Time for a traditional murder ballad, ‘False Lamkin’, adapted
from the version from Cambridgeshire collected by Cecil Sharp. The song is
sometimes also known as False Lincoln or Long Lamkin, among other names, and
verses vary depending on the version. You may know this if you are a fan of
Steeleye Span, Shirley Collins or Fire+Ice.
Wow beautiful moody vocal over a harp like musical backing,
traditional in its execution yet the clever production makes it modern.
The interlude I shall leave to one side at the moment and
move on to ‘(We Stand) Behind You’. This is a dark and twisted nursery rhyme
warning that not everyone is who they seem. It may start off almost upbeat,
happy with cute sounding instruments but then as this song progresses it gets
darker, twisted, nightmarish, the vocal tracking becomes more unbalanced and
disturbed and the demonic laughs will make you look behind just to make sure
there is nobody standing there.
Maybe it’s just me I don’t think that the ‘Murder Song’ is
about crows, yes they are the lyrical theme but I sense a pagan witchcraft
influence with a group of girls out to lure some poor soul before the crow king
for sacrifice.
One that could be on the soundtrack of ‘Blood On Satan’s
Claw’ or even an outtake from the Comus album ‘First Utterance’, traditional in
delivery it maybe, but this has a catchy almost hypnotic vocal pattern and all
in all creates a creepy horror folk mini epic.
Following on from ‘Yellow Eyes’ is ‘I Know A Place’ it
continues that them of the inner wolf.
Showcasing an impressive vocal range and clever mixing and
production this sounds like a choral quartet, dark harmonies flow through the
speakers whilst the wolf listens intensely.
‘How Do I Know’ seems to be an anthem for the insecure, but
there is also a hidden depth here, after all what if the crazy are really the
sane ones? Is the reference to money really about money, the use of the
“Pounds, Shillings and Pence’ in the lyric could be a nod back to the mid
1960’s where bands like the Pretty Things used the £sd to refer to LSD.
The basic drum pattern follows a similar rhythmic madness of
the 1966 hit ‘They’re Coming To Take Me Away’ by Napoleon XIV. The vocals are
mad, the samples are madder and to cap it all off there is a great “Dr Phibes”
sounding organ.
‘Blackbird Pie’ is perhaps as you might expect a new take on
the 18th century nursery rhyme ‘Sing A Song Of Sixpence’. Miss Cooke
has replaced the naughty boys or the more common blackbirds’ version and then
added a beautiful element of plague and the black death! This is all wrapped up
in a rather pretty little folk tune.
Another interlude, so perhaps I shall take a moment here and
return to the first.
Thing is ‘Summer Is A Coming In’ at just under fifty five
seconds and ‘Winter Is A Coming In’ at just over one minute, for me don’t work
as separate pieces, I can’t help but feel that the opportunity to create one
entire song with the other two seasons added would have worked better with the
overall concept of the album being full songs.
Either that or the fact that both pieces have the same
rhythm, when placed together they flow perfectly.
Pure poetry, perhaps even the moonlit ghost of Jim Morrison?
“the rivers of moon light flow into lagoons
Who dares to impugn her white-faced mis-tune
No song of the spheres is more inopportune”
The ‘Moon Song’ blends classical and folk influences that
act as a perfect backdrop to, as I have already said, “Pure poetry”.
Adapted from the traditional nursery rhyme ‘The North Wind
Doth Blow’, simply titled ‘The North Wind’. Beautiful piano and violin again
give this a more classical feel and right at the end there is some
orchestration that fades away all too quickly, I could have done with another
two minutes of that before the fade out.
In 2010 Miss Cooke wrote a short story called Storm Watch A
Tale Of the Sea, this was published in ‘Tales From The Asylum’ from Last Line
Publishing House.
The song ‘Stormwatch’ is based on that story. As to be
expected this is a lyric heavy piece with a near symphonic accompaniment.
What better way to end than ‘End Of The World’ a perfect
apocalyptic tune, though I feel I should ask ‘Just wearing heels and vintage
pearls?’ but there again why not it is after all the end! With it’s overtones of Edith Piaf this
cabaret-esque finale is almost uplifting in delivery, one may almost think Miss
Cooke is quite looking forward to an impending apocalypse?
So aside from my ‘Interlude’ issue this is a brilliant
album, it draws on folk and classical influences, throws in some gothic
elements and creates an album full of atmosphere. Very well produced, clever
mixing and attention to detail a solo album of some magnitude.
01.Risus Sardonicus
02.Fifty Drachms (To Kill A Man)
03.Apoplexy In Summer (Industrial Accidents)
04.Parker's Expedition
05.Ubersoldat (Gbe Age)
06.Fifteen Leagues To Providence
07.In Contempt Of Quinsy And Dropsy
08.Posing As Babalon
09.Hand Of Cinder, Hand Of Ash
10.Chapel Perilous
Half-Rats (Vocals/Instruments)
Guest
Steven C Davis (Narration on track 7)
Steampunk, Victorian Goth (Dreadpunk), there are many possible genres that could be named for this American one man band formed in December 1884, though i suspect that 2014 may be a closer date.
Multi instrumentalist Half-Rats explains: "Plain speaking...I'll say that my music is not about impressing the wrong quantity, it's about vexing the right one. Fulfilling all of the duties of my given office...such things as being the living conduit and messenger for a dead world, guarding the affects of the deceased and establishing a bastion in this time - availing myself of all resources provided here to awaken the masses; reconciling past and present to set into locomotion a vehicle to a better future."
He has created a clever "back Story" a shortened version:
In post-civil war Detroit; a man, an act existed, compounded of a singular deviancy of character and incongruity of thought in relation to the mode of its day. My presence here is owed to an unnatural power, an ancient and terrible force of primordial origin - held by ethereal beings known to me simply as the "Hellbourne". Prior to the discovery of this queer source of power, I lived, and it can be fervently argued, on the periphery of polite society - A rogueish Heir with friends of questionable moral character - both rubbing shoulders with and coming to blows with casuals, publicans and the insane...My music and lyrics treated the problems of the day, and in no sense was I welcomed even in the bawdiest of establishments - The act was certainly considered odious in the newly-reformed vaudeville shows - not due to tawdry seduction, but to the brash truth! Still, I stayed the course. If you have made the assumption that the singular event that changed my already calamitous lifestyle afforded me no opportunity for salvation - you would be correct.
Corrupt police, disease, finding myself accidentally transported to the year 1916, frictions with socio-political movements, supernatural forces, bar brawls, pistols, the malcontent back-alley butcher, mad professors, reanimated super-soldiers...It was all there for me to contend with.
A touch of swing meets classic americana and 'Risus Sardonicus' launches us into the complex and (as yet) unkown world of Ague. This light near acoustic opener is then followed by a much darker piece: 'Fifty Drachms (To Kill A Man)'. A great vocal performance that is not a million miles away from Rufus Wainwright or Danny Elfman, excellent guitar playing and some nice keyboard work in the mix as well.
With its carnival keyboards 'Apoplexy In Summer (Industrial Accidents)' is a happy sounding song with some great backing harmony vocals, yet somehow its a disturbing piece, reminiscent at times of the Stranglers 'waltzinblack'.
'Parker's Expedition' has this wonderful old fashioned feel to it, another stunning vocal performance, this one has more than a touch of the cabaret about it.
Cannot go wrong with some harpsicord and 'Ubersoldat (Gbe Age)' has a great intro by said instrument and it is present throughout the strange mix of drums and more harmonic backing vocals.
'Fifteen Leagues To Providence' takes us back to early 1950's jazz and rock n roll with its solid guitarwork and hand clapping style backing music. This has a dark, almost, New Orleans "night tripper" vibe!
The intro this eight minute epic 'In Contempt Of Quinsy And Dropsy' is spoken by Steampunk author Steven C Davis over a quiet keyboard backing, telling us the tale of Dr.Parker and the effergies of the songs title.
The music then takes over and treats us to an almost symphonic rock song, good use of keyboard orchestration, driving drum patterns and another solid vocal performance.
Up next is the surprising 'Posing As Babalon', i say that because it has some pretty heavy guitarwork and a dark gothic undertone. The ghost of proto-doom metal lurks here, added to the driving drums and guitar playing is a great old sound "farfisa" keyboard sound.
Once again 'Hand Of Cinder, Hand Of Ash' offers us some more in the way of heavier music, this is another well orchestrated piece with some punchy powerchords coming through, all this creates a dark gothic rock monster which at one point includes some pure demonic vocals that would not be out of place on a cradle of filth album!
Yet somehow this song manages to mix in some 1950's guitar riffs and have an operatic edge as well.
I wonder where this final track will go? Well 'Chapel Perilous' returns us to that jazz/swing sound, a perfect way to end a very clever album full of different styles and superb sound production.
Rating 9/10
For fans of: Danny Elfman, Joe Black, Dr John, Midnight Syndicate, Juke Baritone, Wednesday 13
01.Nothing
02.Factual Accusations
03.Broken Hands
04.Find The End
05.Horrible Days
Reverend Black Claw (All Instruments/Vocals)
Formed in 2013 playing primitive and angry Death Roots envisioned in the desolate forests of the Canadian Wilderness.
Coming from a black metal background and now playing country music, Chris said; "I am the only member of the band. A few different people have been on the recording but 90% of it is just me.
Live performance wise there are a few people I play with some times but they are just session musicians".
Well as i was expecting C&W, i was surprised by 'Nothing' which has a simple acoustic riff, very dark and agressive vocal and some nice backing vocals, towards the end is some very gothic sounding keyboard and vocal effects.
'Factual Accusations' gives us more in the style of modern C&W, but there are hints of rockabilly and goth as well, the gruff vocal style cuts through the music to hold your attention and again some great backing vocals.
The tempo and delivery of 'Broken Hands' reminds me of Gogol Bordello, with this great ethnic/folk song.
Now we come to 'Find The End', it begs the question can dark gothic vocals and a banjo make for a a dark, moody and quite stunning song? The answer is yes, this is by far the ebst song so far, a perfect mix of styles that simply should not work.
Finally some more traditional "hillbilly" style with 'Horrible Days', but its the "Hail, Hail, Hail" backing vocals and kick ass guitar solo that turn this into something quite unique.
Rating 9/10
For Fans Of: Buck Satan, Bourbon Crow, Hank III, Gogol Bordello
01.Adam And Eve
02.Pay My Body Home
03.Empty Sky
04.Jack Orion
05.Geordie
06.Silence And Tears
07.Sanctuary Song
08.Deliver Him
Paul Dadswell (Drums/Vocals)
David Ellis (Guitar/Mandolin)
Mat Fowler (Guitar/Mandolin/Vocals)
Bill Lynn (Bass)
Celine Marshall (Violin)
Maria O’Donnell (Vocals)
Hailing from Kent and London, Galley Beggar formed circa 2009 and are a band of six musicians that grew up obsessed with an old sound from Fairport Convention to Led Zeppelin.
The name derives from an old English ghost, often reported in the North of England and mentioned as far back as 1584, in Reginald Scot's The Discovery of Witchcraft. This fearsome ghost is described as being almost without flesh and bearing its head under its arm and emitting a deathly scream. The name is derived from the word 'Gallery', meaning to terrify. This ghost is likely to be encountered on country roads and deserted lanes.
Starting with the soft acoustic 'Adam And Eve' the band quickly nail their influences to the wall for all to see, this is as perfect and authentic psychedelic/acid folk as you will ever be lucky enough to hear, from the stunning vocals to the beautiful mandolin and violin.
Up next is a 9 minute epic called 'Pay My Body Home', again its very laid back with some psychedelic guitar work in the mix, even when the pace picks up and the drums increase to match the solo it somehow remains "chilled" as if on a sunny riverbank drinking ice cold cider whilst watching the river flow by.
Phased acoustic guitar and vocal and 'Empty Sky' has a slightly more modern feel, still follows the same patterns of classic folk but this one is more "All About Eve" than "The Trees".
Highly reminiscent of "Steely Span" comes 'Jack Orion' an upbeat multi vocal song, complete with a catchy violin riff, and you dont get to say that very often.
Now 'Geordie' returns to a slightly darker sound, laid back drum beat drives this along and then comes a short guitar solo that just lifts the piece to a higher level.
The title track 'Silence & Tears' is another great acoustic workout with stunning vocals, this is followed by 'Sanctuary Song' which is more of the same only with harmony backing vocals.
The final track is 'Deliver Him' which is mainly a multi tracked vocal (reminded me a bit of Karen Carpenter) a little violin and what sounds like a bit of synth in the background, towards the end the acoustic guitar picks up the pace and then, all too soon, the album is over.
Rating 10/10
For fans Of: Circulus, The Trees, Pentangle, Led Zeppelin, All About Eve
01.Open The Door
02.Fear Is All You Know
03.Maria
04.Devil Eyes
05.Cloven Hooves (Of Fear)
06.Demon Caller Number 9
07.Bloody Mirror
08.Lay Down In Bedlam
09.Bottomless Pit
10.Never Run
11.Miss September
12.Empty House
13.Watching Over You
TJ Cowgill (Vocals/Guitar/Field Recordings)
Joey D' Auria (Drums)
Contributing Musicians:
Bill Rieflin (Backing vocals/Piano/Organ/Bass)
Don Gunn (Backing vocals)
Brianna Atwell (Violin)
Emily Denton (Vocals on "Maria")
Vanessa Dandurand (Vocals on "Devil Eyes")
Pulling together the biblical sound and isolation of the bygone days of revelation with an atmosphere filled with hope and salvation, KING DUDE has woven his own unique brand of purely American music. He brandishes many varied influences in his songwriting... Everything from British Folk, Americana, Country and Blues can be heard in his songs. The resulting songs are much more of a modern day hymn then your average pop song.
Reverent as it is prophetic and stark, King Dude's latest album, entitled Fear, was produced by the legendary Bill Rieflin (Ministry, Swans, Pigface etc).
With Fear, TJ set out to make "the most horrifying music I could", so this one sounds intresting.......
The first track is basically a Ministry sounding intro and then the album gets going with 'Fear Is All You Know', quite a goth sounding track to my old ears, kinda like Bauhaus playing with Nick Cave via Captain Beefheart, really good, atmospheric and moody.
The style changes for 'Maria' which is very reminiscent of a down beat country take on Unchained melody, some haunting backing vocals give this a melancholic feel.
Yet another change of sound for 'Devil Eyes' this is Tom Waits meets Johnny Cash for an upbeat and dark modern country rocker.
Touch of acoustic rock with 'Cloven Hooves', quite a seventies feel to this one, reminded me of early Bowie.
Very weird opening to 'Demon Caller' must be some of that 'Field Recordings' by TJ, song is kinda run of the mill country tinged rock, nothing that special to make it stand out.
Some pure acoustic country blues for 'Bloody Mirror', gets weird towards the end with strange sound effects.
More dark country sounds with 'Lay Down In Bedlam' is followed by 'Bottomless Pitt' has waht i call that sing a long americana sound, dont know what else to say except that maybe if Joan Jett covered it you would get what i mean.
After some country with 'Never Run' we come to 'Miss September' a Lou Reed meets Neil Young (Circa Eldorado album) electric guitar driven downbeat song.
'Empty House' is a bleak ballad that has some simple guitar lines running through and a very simple drum beat, i dunno funeral/folk hybrid?
Back to a happier sound with 'Watching Over You', great backing vocals and some nice violin, a perfect way to end a dark album.
Rating 9/10
For Fans Of: Johnny Cash, Tom Waits, Lou Reed, Neil Young, Nick cave, Mark Lanegan
