www.mattowens.bandcamp.com/album/scorched-earth
While 2019 was a breakthrough year for Matt Owens in terms of striking out as a solo artist, the bulk of 2020 has seen a stalling just like a vast majority of the music world. However, all is not lost and the recording career of this ex-Noah and the Whale band member is still set for a bright future on the back of his second release SCORCHED EARTH. Noted associations with Thea Gilmore and Robert Vincent frequent his bio and were the introductions that led me to Owens' music last year, so it was great anticipation that greeted the new album upon first listen.
Since that first spin, the album has racked up many plays and sits firmly in an elite group of records that enhances the credence of UK Americana. The latter being an all embracing substantive refuge for key progressive songwriting that surfs between established genres of folk, rock and country. Owens is steeped in the first two of this trio and his storytelling acumen has potential to rub shoulders with the best of the third.
SCORCHED EARTH picks off the quality album merits at ease and categorically delivers a talented musician finding his feet as a solo artist. The dozen tracks are awash with tempting lyrical content and numerous catchy numbers that overshadow the occasional lull. Keys and guitar drive the sound with a small element of fiddle detected alongside numerous interludes of harmonica.
The material ranges from the pensive ballad 'Cargo for the Road' that announces the album's arrival, through the funky overtures of 'Strip it Back', to the outright rocker 'When the Stars Align'. If you seek a little influence, the latter sees Owens dip into his 'inner Boss' and reveal a fist pumping anthem ripe for when stadium lights brightly announce 'Matt Owens'. For resemblance closer to home, there is a strong likeness to Scottish singer-songwriter Dean Owens in 'Maccurtain St.', a song with as much Irish feel as the Cork location of the title.
The title track anchors the early stages of the album and for some reason keeps reminding me of a Sting song. Maybe just the musical memory playing tricks. I'll let you know if it comes to me!
For the standout track, you can have one for each day of the week. The catchy melody and twangy credentials will make 'Cactus Flowers' a valid candidate at any given point, while the vivid story telling that accompanies the uptempo 'Another Song About the Devil' has elevated it to the track of extra promotion on the eve of the release. Elles Bailey joins Owens on this song, and while others have obviously lent many hands, the overall album has a very solo feel to it.
'Heal Up Alright', 'Radio King' and 'I Will Be There' may well be tracks that come late, especially when times allow the record to be toured, but for now their lull status may be as much down to the lofty standard of the others rather than any assessed inferiority.
Any album afforded space for a gritty drinking song with a hint of folk 'n' country sensibility is fine in my book, and 'Hungover in New York' heads a trio of songs including the aforementioned '...Stars..' to form the finale. It is fitting that the closing number is pertinently titled 'Last Day at the Festival', and another memorable story song. This was recalled from the two live sets I saw Matt Owens play last year when opening for Thea Gilmore and Robert Vincent.
Admittedly my ears were elsewhere when Noah and the Whale were rampaging through the 'new folk' scene, and when Matt Owens released his debut album early in 2019. Thankfully in late 2020, they are firmly wrapped around SCORCHED EARTH, a release that packs a significant punch and pitches sincere song writing at an exceedingly high level.
