Now, apart from an earlier EP, newly acquired fans can take
home a more substantial souvenir and while the gigs are likely to remain the
staple in the near future, promotion to fresh audiences is far more viable with
a tangible offering. The album is not out of place when likened to similar
sounding records on either side of the Atlantic, although it would be remiss to
infer that there is anything pseudo about Josh and Carly’s approach to making
music. Any connection with our colonial cousins stems from the stripped back
instrument input dominated by fiddle and banjo alongside a desire to dig deep
into the bosom of human emotion. On a literal platform, this music originates
from the modernist surroundings of Milton Keynes, yet a little delving into the
background would suggest that a static life has been far from reality.
One assertion that the press release is spot on with is the
likeness to Shovels and Rope. It took barely a minute into the opening track ‘Time Shall Pass’ for this to leap out and
one that paved the way for the remainder of the record to flicker high on the
enjoyment scale. Vocal utilisation plays another vital role in framing the success
of this record, probably from a solo angle rather than harmony. The contrasting
styles work well to keep the listener alert. There is a gruffness to Josh’s in
line with some of the road weary protagonists who make their music from the
ground up. Maybe not to the ultimate extent on the harsh scale, but there are
still remnants of Otis Gibbs especially in the track ‘Angels in Heaven’.
On the other hand there is a slender fragility to Carly’s
vocals which once again have the connotation of belying a steely heroine. She
sparkles on the promoted track ‘Four
Strange Walls’, but in my view she exceeds this in the mystique jazz number
‘She Cries’. The album almost becomes
an alternate affair in the vocal stakes as the final two tracks – ‘Heartaches on Hold’ and ‘When Sorrow Calls’- exchange lead
player.
You should now be getting the drift of the slightly solemn
themes from extracts of each song title. What else would you expect from this
genre? You can also choose to delve more into each of their backgrounds and
this will probably shore up the musical direction. On the other hand just
taking in the pleasing tones from a straight forward listen to their recorded
material will inform you of their impressive ability to make good music.
The sparse feel to the production is in line with the
intention to make real earthy music. A mid tempo approach to the pace allows
each song to develop with perhaps the two more prominent deviants being the
faster ‘Forgive Me’ and the toned
down ‘Late Nights’. Fine melodies and
purposeful song structures are definitely in place. Perhaps the wider availability of a lyric sheet would enhance the enjoyment of those who like to peruse that aspect of the music.
NEVER SETTLE is a commendable record to take the career of
Hope in High Water forward suggesting that there is much more in the can. It
comes across as a real interesting mix of idealism and reality; not a bad
formula to inject into your music.
www.hopeinhighwater.com