Although his music wouldn’t suggest it, there are claims that Johnny Lamb (the man behind 30 Pounds of Bone) is actually anti-folk in terms of his reputation as a bit of a loner, often recording and touring on his own, contrasting with the sense of community usually associated with folk music and culture.
However, Lamb’s latest record ‘Method’ embraces everything dark and deep about folk music, exploring a wealth of issues with the sort of depth that can often only be truly portrayed through folk. From his fascination and love of the sea and fisheries to his issues with drinking and relationships, Lamb delves into his past for inspiration, revealing his wealth of experience and love of what he does.
The first track, ‘Crack Shandy in the Harbour’, immediately sets out the depth of the album, portraying a true account of a time when Lamb worked in a cafe in Plymouth where narcotics anonymous had their meetings. It introduces Lamb’s storytelling skills which become crucial to the album as a whole as the stories told – some true, some fictional – reveal the range of issues and situations explored throughout the album, whilst the hazy synth drone gives the track a static atmosphere, further adding to the images created by the original story. Lamb then shows off his multi-instrumental skills with the bango led ‘How We Applaud the Unhappiness of the Songwriter’, a softer track that notes the peculiar connection between an audience and the soul bearer.
‘All For Me Grogg’ puts a different take on the famous folk song. It’s exceptionally dreamy (comparisons to Sparklehorse have been made) with shimmering cymbals and a faint haunting siren in the distance as the spindly guitar picking creates the steady tempo before the snare and bass come in. The next track is actually pretty funny if you listen to it properly. In ‘A Lesson in Talking’, Lamb recalls being dumped due to his excessive drinking and trying to win his love back by suggesting his drinking wouldn’t be a problem if they both did it. The song features some great accompanying accordion and bango – a combination made in folk music heaven.
‘The Fishery’ begins just as normal, but as it hits the chorus, it becomes rather explosive. It’s possibly one of the most intricate and interesting on the album and the chaotic distortion towards the end along with Lamb’s powerful vocals give a real sense of urgency and meaning. Some deeper issues are explored in ‘Ghosts in the Grass’ with the acoustic picking carrying the melody as accordion harmonises with the vocals while ‘Island’s Ode to the Itinerant’ shows a different side to Lamb’s music taste. Whilst obtaining those soft minor chords and timid vocals, he offers some Spanish influenced acoustic guitar and a muted trumpet solo. A beautifully understated number about leaving the past behind. Lamb then returns to form on ‘Crutches’, another great example of his talent as a storyteller, with more bango and layered vocals.
‘Darling’, another love anti-ballad (or anti-love ballad, if you will), has a great Neutral Milk Hotel vibe to it, from the strumming right down to the siren style distortion towards the end, serving as Lamb’s musical interpretation of drunkenness. ‘Where I Used To Live’ is a lovely ending with a sweetness about it which sounds strange considering the weight of the issues dealt with in previous tracks but you’d understand if you heard it’s bittersweet undertones. Although somehow he still manages to sneak some whisky references in.
So yes, there may be many reasons to claim that Lamb doesn’t stick to certain folk traditions because it’s true. But after one listen to his music, his love and passion for all things folk is instantly obvious. His alternative methods (such as hazy synths and, of course, his love of distortion) are in fact really refreshing and the fact that he is his own man makes his music all the more honest and sincere. He has definitely brought something new and interesting to the underground folk scene.
