White Heath

Out of Angles EP

Since they took the long road south, output from the (former) Edinburgh troupe may have been sporadic, but it’s certainly been interesting. more… “White Heath”

White Heath

Take No Thought For Tomorrow

5-piece (possibly 6 now) White Heath, would rather you didn’t concentrate too much on their non-standard line-up.  They claim it’s down more to necessity (i.e. that’s what the could play) than any kind of arch design.  more… “White Heath”

Alasdair Roberts / Muntu Valdo

Celtic Connections @ The Tron

Cameroonian Muntu Valdo does that thing where you take a Enterprise-scale board of effects and use them to make your-solo-self sound like a full band. And, as with every time you’ve seen this done, the effects can be varied. The opening acapella number where he builds himself into a full choir is astounding. The first number he does with his guitar, in addition to playing rhythm and lead (several times), he’s beating it like a percussion instrument is impressive and entertaining.

By the time he hits the third number, you’re kinda wishing he’d scrap the gimmick. Sadly when he does, it’s for some really bog standard old blues-y songs. Stuff that could do with some perking up. Even a guest spot from Roberts fails to lift the pedestrian material.

But, it is testament to how endearing a performer Valdo is that as he returns to his sorcerers (as he calls his pedals), he’s managed to get a slightly reticent Celtic Connections audience not only clapping along but also singing. Maybe if he got the balance right, you’d have been doing so from the off.

Alasdair Roberts carries the torch of traditional song so we don’t have to. He is one third of University of Edinburgh’s Archive Trails project. Which is useful, as it means he can lecture us on the provenance of each song during the interminable periods of guitar tuning between them.

There’s something about Roberts’ tradder-than-trad approach to folk music that’s always suggested to you that he might go full circle and find himself on the cutting edge. This has been the tension that has made his last few records seem just so essential. Tonight, it’s not there. Everything seems a little stuffy, maybe downright musty. The band play like they’ve been up since the festival started. This lends itself to some downright louche passages, but never really takes off.

Ironically, it’s left to a reciprocated guest appearance from Valdo to be about the only glimpse of boundaries being nudged at. Unfortunately, that’s on the opening number. Guess it’s time to give up on that dream of Roberts taking Scottish folk into the same territory as the alt-country movement in the states and just accept that he wants to curate museum pieces. Which, he is making a damn fine job of.

The Phantom Band

The Wants

Another communication breakdown on my part means I’m possibly filing the latest review of The Phantom Band’s new album The Wants. Surely, there’s some cache in being the last as opposed to rushing to be first? Seriously, I’ve been busting to rave about this. I’m sure I lost followers on Twitter as a result of my constant insistence that they all get ready to rush out and buy this very, very special piece of work. Now everyone has it*, and loves it. Suppose, I get to have that special perspective of having lived with it for a bit. And, I can categorically state that it’s not just the novelty of the new. These nine songs just keep getting better. And it was awesome on first listen.

Opening with A Glamour, a world-weary glam-stomp of a track (and no that’s not a contradiction in terms) with one of the most haunting refrains at the end is a damn strong statement of intent. This is a looser but just as massive Phantom Band. Even a bit more obviously playful. I can’t be the only one to feel there are echoes of the frog chorus in Everybody Knows It’s True. Can I? Really infuriatingly catchy.

As is the sense of striving in Mr Natural. As with all their songs, I have no idea what they are about, but this is just the sound of reaching for something. What, I don’t know, and it doesn’t matter. It’s the trying that matters. Come Away In The Dark is one in the eye for those that looked at me as if I was mad for insisting they’re essentially a folk band. It’s darned pretty too. There are few bands could get away with closer Goodnight Arrow. Which starts like the Blue Nile should have sounded and ends HUGE. No other word for it.

Yes, there are four other tracks. I could have waxed lyrical about them all.

Of course, the greatest achievement about this is that it followed so closely (barely 18 months) on the tail of the majestic beast that is debut Checkmate Savage. No ‘difficult second album’ syndrome. Just another intelligent work with more ideas in one song than most bands have in a lifetime. At this rate, next one early 2012. Can’t wait.

*If you don’t, you really need to go out and buy a copy, it’s special. You need The Wants in your life.
The Wants - The Phantom Band

Be A Familiar

To The Lighthouse

Septet Be A Familiar finally deliver their debut album. And, all we can say is that To The Lighthouse has definitely been worth the wait. Definitely the most air-punchingly exhilarating albums for quite some time. The whole thing is driven with an energy and rush from start to finish.

Make no mistake, this is probably the least hip record that will be released all year. Which, surely, must make it one the coolest? It’s distinctly Scottish without kicking he bejesus out of the body of traditional music. It’s complicated and brilliantly arranged without needing the fiddlers rally backing it up. There’s inventive structures and flights without a single stroked chin or poed-face. You will love this in spite of yourself.

Opener Had Your Fill sets the tone. It’s big and brassy (as in section) and you will be unable to tap a toe to it. And, it all required to be played REALLY LOUDLY. We were going to suggest All Kinds Of Nervous came close to challenging Robyn for pop tune of the year. But, that could be Splinters. Yes, there’s two tracks on here that poptastic. Of course as titles such as Daggers When We Kiss and You’d Make A Great Ghost, the up-ness of some of the music gives lie to the darker lyrical bent of the band.

I’ve been trying not to liken these guys to Deacon Blue again, but can’t avoid it. If there’s one band they evoke memory of, it’s unfortunately Ross & Co. But, from another parallel universe where Raintown was a good as people (all silent these days) claimed it to be. The difference is that there seems to be an honesty. Not chest-thumping earnestness.

There’s an ugly rumour this may be the swansong, too. That would be a great shame.