WHISPER EP
If you didn’t notice a review the other week for the wonderful ‘Whisper E.P.’ on Chaffinch records then don’t fret. ‘Cos we missed it like a bunch of retarded gannets due to the sheer influx of Xmas shagging records & this sweet 4 track gem was buried in the kerfuffle & confined to the deepest recesses of the stockroom. Ironic, as the sleeve features a lost dog in a quarry with one of those lampshades round It’s head that keeps mangy mutts from scratching all their fur off when they get nits. Or summat. Ask yer vet. ANYHOO, without FURTHER ADO, this dew-eyed beauty features an absolute blinder from Lucky Luke (a priceless psych-Celt folk odyssey that’s exclusive as it was missed, criminally off Patrick The Survivor) Unfortunately Fat Thailand scoffing Barry has lost the press sheet so I cannae say much more aside from there’s also folkin’ excellent tracks from King Creosote, Immigrant & South Downs. Ignore everything else this week & buy this almost flawless comp 7″ (that’s only if you only have a few quid after buying all yer crack ‘n’ ciggies @ crimbo). SOTW.
Norman Records – January 2006
Four act EP (sadly not on well yummy custard yellow vinyl but attractively presented nonetheless) featuring Beard’s favourite Fifer King Creosote taking his band for a jolly country ramble. Lucky Luke’s Please Bomb Slough was left off their album (perhaps due to its atypical lo-fi drum loop) but it’s one of their best, a dark beauty that slowly unfolds in a Hebridean breeze of flute, saxophone and rumbling toms. The (?)non-Scottish acts are equally fine, with South Downs contributing some lovely folk-pop melded with harmonies and harmonium and Immigrant enchanting with the slow burning hum of The Violet Flame.
Stewart Smith, The Beard – #5 Winter 2005
Creosote offer a lovely jaunty new song to this four-track new-folk EP, but it’s the sinister, Wicker Man chanting of Lucky Luke that shines brightest.
John Earls, Planet Sound – September 2006
4 lovely tracks here. Singer songwriter material with heaps of meloncholic overtones in the wonderful melodies. I particularly love the use of the harmonium on the inside side. beautiful…..
I loved the Lucky Luke album so there was no hesitation in getting this EP. ‘Please Bomb Slough’ is a broody nest of nu-folk twigs upon a slightly rhumba-ish branch. Not sure about the title. ‘Please Bomb Slough’ – isn’t that incitement to terrorism under section 72 of the new Dontfuckwivus Act. (Then again 500 7″ singles is hardly an incitement to anything, as my Gran always used to chuckle.) I think I know what they’re getting at though. Slough represents materialism, the urban, the suburban, the modern, the breakdown of community, the vulgar, the corporatisation of the high street, the Americanisation of culture, an uninspired youth, the devaluation of human endeavour, the new slavery, the pointlessness of a satellite town, the distribution centre, the easy access to the M4, the industrial estate, the death of hope, repetition and process. Slough is everywhere. It’s not just Slough. And somehow I don’t think folk rock is gonna save us but, hey, it’s worth trying. Do people ever gig in Slough? I wonder if Lucky Luke had a bad experience there or something. It would tie it all up. Anyway, this EP is on the new Chaffinch imprint and contains other stuff: including a rather chirpy song by South Downs and a skybound organ number by Immigrant.
*I’ve just been informed that the incitement to bomb Slough is in fact a reference to Betjeman. Once again my ignorance of 20th Century verse has left me exposed and ashamed. But then you’re dealing with someone here who thought The Wasteland was written by Paul Weller and, once, when my poet friends were discussing Dylan I thought they were talking about Bob Dylan – whoever he was.
Review by Wide Open Road. January 2006. www.angelfire.com/indie/wideopenroad
For the love of music! Not too many labels still put out music…for the love of music. And that’s why U.K. based Chaffinch Records is such a little gem. Releasing various artists EP’s, and a little EP by a nobody artist named Anthony Reynolds (Jack!!!), these guys might not be making a huge splash, but they definitely deserve your attention. The Whisper is a 7″ vinyl EP limited to only 500 copies. And if you think for a moment that small quantities proves it must not be worth your time, you’re a bloody idiot (MakeMineMusic and VelvetBlueMusic are 2 wonderful examples of this). Lucky Luke is the first of the 4 artists that show up on this EP. The price of the EP would be worth it for the slow and haunting “Please Bomb Slough” alone.
A very talented and understated band we should hear more of. King Creosote’s “6 Ups and Over” sounds like an obscure folkish jam, with vocals filtered to the background as acoustic guitars and brushed drums dominate the soundscape. “Something Inside” by South Downs bleeds of its influence. An endearing cross between Paul McCartney and Elliott Smith echoes through the air, as lo-fi melodic drones fill out the remaining headspace. The fourth and final artist to contribute to this EP is Immigrant, with “The Violet Flame”. Featuring an organ as the song’s base, a dry tenor sleepily follows a monotone melody to its bitter end.
For those serious indie music lovers, you should become familiar with Chaffinch Records. They put out music that’s worth your while.
The Black And White Magazine
PONIES EP – ANTHONY REYNOLDS
‘A grandstanding return from one of our most under-rated crooners’ 8/10
John Earls, Channel 4 Launchpad. 1/2/2007
This is the debut solo release under Anthony Reynolds’ real name. He has released solo material before under the name of Jacques, which was the solo project that he used to run in conjunction with his then main band, the wonderful Jack, whose first album from 1996, ‘Pioneer Soundtracks’, is getting a double CD remaster next month. Released on lovely 7” vinyl in a very beautiful sleeve, ‘Ponies’ plays at 33rpm and consists of two original tracks and a cover version.
‘I Know You Know’, the main track, has a more beatnik sound than that of Jack, but, like Anthony’s former group, who broke up in 2002, is influenced by Scott Walker in the finest order and has a lush backing that even Tindersticks would admire.
‘A Blue Flame’ the first of two tracks on the B side, is another original, and bears an even closer resemblance to Jack. It has lots of very sad violin, a sorrowful vocal and is full of the night’s loneliness. It is absolute genius.
‘Railroad Bill’ is a cover of a traditional song, and sounds like a demo. It consists of minimal vocals and has an acoustic guitar to assist. It shows that this Welsh chap has lost nothing in moving away from London. It is good to have him back.
Anthony Strutt, Pennyblack Magazine. 2007.
With fairly mersh expectations, this pretty excellent singer-songwriter fare that brings a little bit of lush mystery to the sort of adult male British singer-songwriter realm. Earnest and wrapped in satin, well-orchestrated (strings, hand percussion and piano fill out the space), the combination rises to a boil on the first track, “I Know You Know,” evoking a softened yet familiar regard to the last few years of guitar-based rock, beneath a classy, adult-contempo studio finish. Reynolds really sells this vibe, with poignant lyrics that almost dominate any character he might exhibit, but in this capacity, it works in his advantage. Hey, not everything we get in here is a punk, garage, or noise record, and that’s cool – this music is pretty honorable about its intent, and has enough charm and resolve to succeed.
Doug Mosurak, Dusted Magazine. 2007.
2007 is set to be an ambitious year for Welsh singer/songwriter Anthony Reynolds. In a month’s time, Reynolds will see the elegant re-issue of Jack’s 1996 debut Pioneer Soundtracks, complete with new artwork and an extra CD full of b-sides and exclusive tracks.
Also in the works is his first official solo album under his full name, titled British Ballads. And in addition to all of this, he is also working on a musical project with reknowned author Colin Wilson. So prolific is one word that fits Reynolds like a glove, as he is always recording, creating, and writing. And this brings us to the recording at hand. This nifty little Ponies EP is limited to only 500 copies (7″ vinyl only), so loyal Reynolds fans should not procrastinate.
If you are uneducated in all things Reynolds, let me bring you up to speed. Anthony Reynolds is an ever-evolving musician. His vocals are like melted butter (think Scott Walker meets M. Ward meets Jarvis Cocker), and his instrumentation can range from lavish to lo-fi…but it’s always affective. It’s lazy to shrug off an artist by pointing to their influences, so while Reynolds is inspired by the greats of pre-modern pop, he is an artist worthy of being compared to himself.
I think great artists/musicians can be measured by their own high standards, and with at least 10 albums/EP’s to his credit, Reynolds has certainly earned it. Of the three songs on Ponies EP, “I Know You Know” is the highlight. While very straightforward in structure and arrangement, I think this is the most powerfully emotive song Reynolds has ever graced. His vocal is magnificently warm, and the orchestral score could easily blend into A Touch Of Schmilsson In The Night-era Harry Nilsson.
The more lyrically mischievous “A Blue Flame” follows the same beautiful pattern. This is a comfortable and inviting Reynolds casually charming you with his grace. Only a handful of musicians can deliver with this kind of ease and brash confidence. Pulp would have loved to claimed this song in their output, as it blends sensuality with luxurious pomp.
The final track, “Railroad Bill”, is a traditional folk song, and Reynolds doesn’t transform it as much as he embodies it. Note for note, this little gem stands up well beside every other Reynolds work. These three songs clearly illustrate the uncanny and nearly unmatched talent of Anthony Reynolds. It looks like it’s going to be a fine year for music across the pond!
9.3/10
The Black And White Magazine. 2007.
CLOSE YOUR EYES EP
Here’s Close Your Eyes EP which is a split four song EP featuring 1. The Stevenson Ranch Davidians with Let It All Go which is a Spiritualized sounding groove out. 2. James William Hindle and Calvin Halliday produce a gentle cover by Jackson Brown in a lovely tartan shirted delicate way. Track 3 is Fence Collective member Rich Amino with Molly May and another acoustic guitar track which makes ya foot tap and your mouth smile at the repetitive ha ha chorus. Track 4 and Sancho has plugged in his computer and is making pretty electronic pop niceness with jerky beats and xylophone tinkling.
Maggie, Norman Records 2007.
From the little label that brought you the splendid Anthony Reynolds EP, Close Your Eyes showcases 4 other eclectic artists that should woo your affections. The California based Stevenson Ranch Davidians lead off the EP with “Let It All Go”. The band’s straight-forward, jangly nature is layered with reverbed chords, southern organ fills, and a bit of alt-country psychedelia. I’d like to hear an album’s worth of this stuff.
The folky duo of James William Hindle & Calvin Halliday play an intimate cover of Jackson Browne’s ode to Nico, “Birds Of St. Marks”. Their guitar and vocal tones are warm and inviting, creating a cozy, introspective soundtrack. Next up is Rich Amino, a Londoner who devours smart, indie art-pop, as proven by his sweet gem “Molly May”. My guess is that Amino owns every Jens Lekman single. A great, simple…simply great song. This 4-song EP is concluded with Sancho’s “You’re My Lemonade”, a weirded out and abstract collage of percussion, synth yanking, and chilled out guitar work. Think of Air in jamming mode, and you’d have the right idea.
This is a fun little EP that works well to illustrate the strength of Chaffinch. More power to them.
The Black And White Magazine 2007
A DANCE TO HALF DEATH EP – The Second Hand Marching Band
The Second Hand Marching Band are a band of 22+ people from Scotland that play untraditional folk music. They are also members of another 20+ Scottish bands, such as Eagleowl, Q without U, Dananananaykroyd, The Just Joans, Lula Maes and How to Swim. They’ve garnered comparisons to Beirut and Sufjan Stevens but the band think their sound is more informed by Glasgow’s post-rock crew, bands such as Mogwai, with the songs building up in layers, albeit with acoustic instruments and not distorted guitars.
After listening to the EP a few times I think the band are spot on – there is layered feel to the sound on this EP that gives the band a post rock feel – albeit with a pop charm that definetely makes this a must hear release. This feel is underpinned by some gorgeous instrumentation with accordions, ukeleles, mandolins, brass, saxophones, clarinets, flutes and glockenspiels all evident on the EP. I’d say the best way to get a handle on the band is to listen to one of their songs as they’ve built a sound that is all their own.
Lostmusic – January 2009
Anyway first up is a CD by The Second Hand Marching Band called ‘A Dance To Half Death’ . Probably the easiest thing I’ve ever had to review. They are a Scottish folk collective. They come from Fife and they sound like a twee Scottish version of Beirut. Lots of parping horns, wheezing accordians and choraled vocals. It all has a very uplifting feel and I could imagine sloshing pints of beer around to this, singing along and making a fool of myself.
I love the name of the record label – Chaffinch Records. How delightful. In this day and age of misery, stabbings and poverty its nice to hear something that reminds me of the beautiful Scottish countryside and a much more innocent time.
I’ll give you more comparisons if you want? Vashti Bunyan, the Fence Collective, Lucky Luke, Beirut (again) the music from the Wickerman or a happy Matt Elliott.
Norman Records – 19 January 2009. SINGLE OF THE WEEK.
See, this is why we keep blathering on and doing this thing to death – because we know lurking somewhere out there is the next great, or at least potentially great, new band.
Presenting, then, The Second Hand Marching Band.
You’re intrigued already, we can tell. Based in Glasgow and formed in December 2007 to “play songs with many instruments that could be danced to” they number between 16 and 22, but don’t go thinking this is mere Polyphonic Spree gimmickry. Including members of many other bands, including Dananananaykroyd (drummer Paul Carlin), Eagleowl, Q Without U, The Just Joans and The Occasional Flickers (and, it suggests here, soon ex-Teenage Fanclub/Mogwai drummer Brendan O’Hare), their number includes mandolinists, ukeleleists, glockenspiel (two!), accordion, flute, clarinet, melodica and a three piece internal brass section, we’re dealing with sprawling folk of the Sufjan/Beirut end at heart, but with a cheerfully ramshackle chorality pitched somewhere between revivalist joy and huddling together for warmth and safety and an admitted post-rock influence in the way the layers of instruments slowly build and crescendo.
You’d imagine they’re something special live, although they’re only playing across Scotland at the moment. Fair enough, as despite the whole Balkan/Americana reference points it is ultimately a very Scottish sounding thing. They released a limited edition EP, A Dance To Half Death, last week, available from their Myspace and through Chaffinch Records. Watch them, because if we’re any judge – pause for readers to make faces and odd noises behind hands – they’re building up to something very interesting.
Sweeping The Nation – 20 January 2009
A mournful accordion propels a darkly romantic waltz, as boy-girl vocals sigh with solomn devotion, chuffing off two minutes in.
7/10 John Earls, Channel 4′s Planet Sound. 26 January 2009
Already gaining something of a novelty act reputation due to their sheer size – 23 members and counting? Only the Polyphonic Spree can better this, and whatever happened to them?
However, unlike that choir, all the members of the band are gainfully employed and not just singing or playing triangle. And moreover, the six tracks here are as fine as anything you’ll find at the horribly corporate Celtic Connections festival, or indeed on Radio 2. That’s to say, if they were stripped down to one man and a guitar then these tunes would still work as folk-pop classics. The title track isn’t the half of it either – in fact, there’s a slight weakness about this with a too-warbly vocal. But ‘Dance To Half Death’ is a tune that Vashti or James Yorkston would be proud of.
Similarly, ‘We Walk In The Room’ with its boy-girl vocals could be enough to reunite Richard and Linda Thompson, a song they’d be proud to have written. But it’s particularly Scots, even down to the warning “don’t go outside in the rain or snow” on ‘Don’t’. This lot could be going places – and I’m not just talking Glastonbury or Cambridge. Though they’ll need a big bus…
Calum Craig – Is This Music? January 2009
