Otherish – How Lucky we are Being Us and Each Other
“The music of Otherish is for beautiful, caustic, charming, confused, fragile, frank, free-ranging, hope-filled, ignorant, naïve panic-stricken, slippery, vain, wily human animals everywhere. “ so says poet and writer Andrew Keanie.
I’ve reviewed this band before, and this is more sly-yet-loving lip-service to musical normalcy (from Burt Bacharach to Radiohead), but with plenty of left-field antics, with gristle-filled rhythms, meatier melodies and ‘that are a little more mulchy, and ‘alternative attitude’ lyrics. To remind you, Otherish are a Belfast/Bristol based 4 piece. Although formed in Bristol, three of the group; brothers Mark and Paul Bradley, and neighbour Francis Kane, were born in the same house in Belfast. The quartet is completed by Winchester-raised George Claridge.
Otherish are ingeniously provocative and intentionally undermining of convention. ‘The Strange Rain’ is echoic, fantastic, inventive and spacious with tasty layers and textures. The crisply retro ‘Go Xenon!’ is cheeky, cheesy and chunky. ‘Dreaming With The Birds’ seems simultaneously minimalist and densely populated, masterly, mellifluous, and mischievous. ‘If Only’ is surely darkly and intentionally creepy. If their intention is for us to experience a whole host of influences from 50s croon, 60s folk, 70s pop/ rock, 80s posture, 90s alternative, then their arty avant garde-ness succeeds and deserves applause for their aplomb. 10CC and all those who followed the art-rock route have worthy successors, but where’s the wider acclaim from the media? Perfectly Postured.
https://www.facebook.com/otherishspirits/
The Panama Picnic Orchestra – 100 Years in the Making
This exciting new project brings together a collection of new original songs written specifically for this band by JC Grimshaw and his musician son Sol, joined by the hugely talented and dynamic Jon Thorne on bass and Chris Jones on drums and percussion, and with guest performances from Richard White (clarinet), Magnus Hawker-French (trombone), and David Hences (violin).
The main inspiration for these new works hails from the hot club gypsy jazz swing era along with other influences such as mambo, world, classic jazz and vaudeville shining through. Anyone remember Kenny Ball and his Jazzmen. Their jazz spirit lives! And its expended to gypsy, country, crooner, vaudeville, mambo and you-name-it. It’s authentic, it oozes raw talent, it’s inventive and creative, it’s a place where experience and youthful talent merge seamlessly – and the young ‘uns deserve plaudits btw. Extraordinary.
Chris Jones – https://onthewight.com/about/plastic-mermaids/page/2/
Sol Grimshaw – https://www.youtube.com/channel/UCLXOxT7hKTJosvNuZurqgjQ
Ed Snodderly & The Shoestring Seven – Chimney Smoke
This 10th album is not just the seven, but a veritable who’s who: harmony vocals from Hall of Fame songwriter Gretchen Peters, and performances from Shawn Camp, Steve Conn, John Gardner, Steve Hinson, Gary J. Smith, Chris Scruggs and Kenny Vaughan, with singers Amythyst Kiah, Maura O’Connell, Malcolm Holcombe and more. Produced by Grammy-nominated producer R.S. Field (Justin Townes Earle etc.) it is poignantly the final project completed by beloved Grammy-winning recording engineer and producer Bil VornDick, who passed away in July 2022.
Chimney Smoke had its origins in Snodderly’s desire not only to make the best record possible but in the concept of creating a quintessential “Southern” album, a chronicle of both his Appalachian roots and his own personal upbringing. For example the title track ‘Chimney Smoke’ offers a vivid depiction of Appalachian life, and is one of the prime examples of Snodderly’s gift for bringing memories and a deep sense of place to life with his intimate lyrics. It’s a hypnotic, slow-burning masterpiece of expert songcraft and storytelling, masterful strokes of colour, shade and texture. Often wistful and nostalgic, with unforgettable characters, indelible memories and a sense of place at its heart, Chimney Smoke bears the marks of a pugilist’s nimble agility and endurance but occasionally also delivers a knockout blow or two.
www.facebook.com/edsnodderlymusic
The Pawn Shop Saints – Weeds
Based in New England’s secluded Berkshire Hills, Jeb Barry has been the driving force and songwriter behind the Pawn Shop Saints since their inception in 2012. Weeds is their fourth release, their pandemic album #3, following Ordinary Folks (2020) and Ride My Galaxy (2022), since most of the songs were written, and many recorded, during 2020-21. The Pawn Shop Saints fluid line-up is currently Jeb Barry (vocals, guitars, bass, banjo, harmonica, organ) and Josh Pisano (drums, percussion, vocals), with help from Michael O’Neill (guitars, vocals), Tony Pisano (accordion) and Amy Attias (fiddle).
Featuring thirteen songs of emotional loss, a little pain, but not necessarily sadness, several of its songs were written in tribute to John Prine. Once again, Jeb Barry has crafted 13 mini movies for the mind, as he explores the world during the pandemic and since. Jeb Barry writes songs that traverse many genres, and has often been compared to the likes of Steve Earle, Jason Isbell and Townes Van Zandt. Sparse, weary songs from the darker side of life, the Pawn Shop Saints exemplify Americana at its simplest and finest. This isn’t a band that is wallowing or declining, this is one in its prime. Flowering.
www.facebook.com/pawnshopsaints
www.twitter.com/@JebBarry_songs
Water Tower – Live from Los Angeles
Frontman and mainstay Kenny Feinstein has spent more than 15 years curating this band in its various iterations band. In 2005 he led the Water Tower Bucket Boys, with a side project of Water Tower String Band. In 2018 he moved from his Portland, Oregon roots to Los Angeles where he began the latest band, now known simply as Water Tower. A collective, with Feinstein the constant anchor, the core of the group is Kenny (banjo, mandolin, fiddle, guitar), Tommy Drinkard (banjo), Jesse Blue Eads a 19-year-old jazz bassist who looks like he should be in Gong.
Together they share their love of bluegrass, old-time and jamgrass while adding their individual fusions of reggae and rock (Tommy Drinkard), jazz and prog-rock (Jesse Blue Eads) and punk rock & old-time styles (Kenny Feinstein). Joined by Joey Berglund on double bass, their new album was recorded at Palomino Studios in one day, after the culmination of a two month tour. The fresh energy of the road is undoubtedly replicated in the studio. The time crunch of impending deadlines can be felt in all these tracks and a raw energy was undoubtedly captured, with most tracks either the first or second take. Fun!
www.facebook.com/watertowerband
www.instagram.com/watertowerband
www.tiktok.com/@watertowerband
www.twitter.com/@watertowerband
www.wikipedia.org/wiki/Water_Tower_(band)
Norman Lamont – Turn
This is Norman’s eighth album, and second under the moniker of Norman Lamont and the Heaven Sent – James Whyte (bass), Fiona Thom (guitar) and Suzy Cargill (percussion). This time round he wanted to create a band-oriented album as opposed to one man and a collection of musicians. Songs were arranged, played, sung, and recorded as a band. He gave the band autonomy to play as they wished to rather than telling them how.
A subtle switch from the more gentle acoustic sounds of recent albums has created a more rock based album, if still typically Lamontian – brimful of variety in both musical style and lyrical concerns. Stylistically the album veers between indie guitar (Turn, Living Water, What Use Is That?) 60s pop and hint of soul (You Just Want the Thrill, She Wants Out, Call Back Fall Back), surf-rock instrumental (California Joyride), a hint of dance in Nothing Through the Rain and even a dark progish The Right Thing. Pre-Indie Kinks-y if you will. A slight turn musically, but classy song- writing, whatever the format. Wry.
https://normanlamont.bandcamp.com/album/turn
Wayward Jane – The Flood
Dan Abrahams (guitar, double bass, vocals), Sam Gillespie (vocals, guitar, wooden flute), Rachel Petyt (fiddle, vocals) and Michael Starkey (5-string banjo, guitar, vocals). Dan is a multi-instrumentalist and composer/arranger working with folk genre-busters Dowally (alongside Rachel Petyt and her unique fiddle sound, of Scottish folk, gypsy jazz acrobatics and old-time grit). Sam is one half of Northumbrian folk troubadours The Brothers Gillespie, known for his delicate acoustic guitar/wooden flute playing and soaring, vibrato-inflected singing. Michael brings a love of American string band music and infectious clawhammer banjo syncopation.
Edinburgh-based Wayward Jane’s music is a modern, transatlantic interpretation of American folk and old-time traditions, blending roots music with fresh arrangements and original compositions. Their rich sound features fiddle, clawhammer banjo, double bass, guitar, wooden flute and close vocal harmony. Their joyful energy, expresses the fine musicianship and playful chemistry of the band members with material ranging in mood from high-octane, toe-tapping tunes to tender and soulful songs. Glowing.
Spirit of Progressive Rock 