Album Review: Brigitte DeMeyer - Seeker

 

www.brigittedemeyer.com

The soul soothing sultry vocal style of Brigitte DeMeyer has long been a favourite here and her latest album release SEEKER does nothing to diminish the mantle that she parades on. Once again it's collaboration that flourishes at the heart of an album with on this occasion trading Will Kimbrough for Jano Rix of the Wood Brothers as a key person to work with. A further decision has been to ditch her own instruments on this record and give the vocals extra impetus to meld with a soundtrack that ebbs and flows with a mix of southern coolness and quirkiness. 

The circumstances surrounding this album release are encapsulated on the cover with DeMeyer reversing her original musical voyage and heading back west to California from a steady and fruitful stint in the southern states. Of course no journey back home is complete without a detour to the Bayou and a full on tribute to her passion for New Orleans in the simply titled track 'Louisiana'. 

On SEEKER Brigitte DeMeyer digs deep into her songwriter reservoir to pen the lyrics to ten songs that echo with personal feeling and reflect where she is in 2021. This is believed to be San Francisco as evidenced in the final track 'Roots and Wings and Bones' which references the location in the pseudonym 'starry city'. Elsewhere lyrically, 'Already In' is a love song for her husband and album opener 'All the Blue' takes issue with the class of southern folk from the wealthy elite who hold others in contempt and go by the name 'High Cotton'. Despite the sincerity of the message, it is the soulfulness of her voice that breaks out from the first track to let you know that the magnitude of her two previous releases SAVANNAH ROAD and MOCKINGBIRD SOUL is being built upon.

Without the need to linger too much on comparisons, SEEKER soars on its own merits highlighted in the the punchy blues effort 'Cat Man Do' and the jazz-like vibes to 'Ain't No Mister'. You should now get the picture that Brigitte DeMeyer flourishes right across the roots spectrum, with the slightly folkier anthem number  'Wishbone' proving a focal point for the album's latter stages. 

Chuck in the title track 'Seeker' where there is still a yearning for the part of the country that proved so beneficial to her musical calling, and the thoughtful 'Salt of the Earth' where deep feeling connection is sought, and you are nearly there. A straight up protest song 'Calamity Gone' eventually completes a set of Brigitte DeMeyer tunes that keep her on the radar of folks besotted with a vocal style that merges spirit with a gutful elegance. Her partnership with Jano Rix, who produced the record and added by far the most influential instrumental content, has proved a winner. 

A few years ago she visited the Worcestershire town of Bewdley with Will Kimbrough to light up the Severn with some southern joy. Is it too much to expect a return rendevouz with her new collaborator? Probably a long shot, but hey SEEKER will do just fine for now.

Album Review: Justin Rutledge - Islands

 

www.justinrutledge.com

Is it is ok to hail a collection of old tunes as your album of the year at the quarter mark pole? Too right you can, especially when you throw into the mix hearing them for the first time. When Justin Rutledge decided that the moment had arrived to re-work a sample of songs from his extensive back catalogue and finally turn his hand to recording a couple of personal favourites from elsewhere, the hope maybe was there that new fans might catch on. ISLANDS does just that to the extent that the nine songs chosen for this collection exist as floating oases in a tranquil sea of exquisite song writing. In a haze of optimal stripped back exertion, Rutledge has reflected back to project forward with stunning consequences. 

Shamefully, but not without an intent for redemption, there is a raft of male Canadian singer-songwriters stretching back to the mid 2000s lying well known yet largely undiscovered in my book. A plausible excuse has been savouring so many female artists from this genre. Anyhow this opportunity to engage with Justin Rutledge is the catalyst to move one such artist from the periphery to centre stage. A place richly deserved on the evidence presented here from a 44 minute display of sheer bliss.

This is the Toronto artist's ninth release and he has drawn songs from five of his previous albums. This ultimately represents seven of the tracks with the two odd ones out being a cover of the Tragically Hip's 'Nautical Disaster' and Rutledge finally taking the plunge to record a version of his long standing live crowd pleaser 'Jellybean'. He called in a few friends to help out with the last track and it can easily be imagined as a connective singalong at the end of a Rutledge concert. For a little bit of comparison with artists I am more au fait with this song has all the hallmark of an Orphan Brigade collaboration. 

On the press release accompanying ISLANDS, Rutledge commented on the pride of reworking 'Federal Mail' as an instrumental to see how the melody works without the words. No worries here, it is glorious. Going back to soundalike associations with artists from closer to my listening core, 'This is War' is so reminiscent of Simone Felice at his finest. There is really not a bad track on this album and it is likely the settled mood you are in that catapults 'Alberta Breeze' and 'St, Peter' to the fore. Probably because you are absolutely in the zone when tracks 7 and 8 kick in as well.

'Good Man', 'Out of the Woods' and album opener 'Come Summertime' complete the set and may be familiar to Rutledge stalwarts. The temptation to track back and listen to the songs in their original format is strong, but for newbies like here, the bar is set exceedingly high. 

ISLANDS may be borne from a desire to re-set a career and plot a way forward in these unprecedented times. With that objective, it's mission accomplished. Justin Rutledge has had a presence in the UK for many years dating back to when he was launched over here first before taking root back home. In normal times this 44 minute experience of pure delight is built for the intimate live setting. Hopefully something accessible in the future. However listening in your armchair switching your mind away from all the madness is a similarly splendid way to while away the time. 

Album Review: Morning Bride - Goodbye, Seaside Danny Wilde

 

Transatlantic trio Morning Bride, with a common northern thread of Lancashire, Yorkshire and Massachusetts, have positioned themselves well to move their band forward by finally collating the eight concept linked tracks found here into a fully fledged album. The seven songs and sole instrumental have been lying a little low on the band's bandcamp page for a couple of years and now is the right time to give them a little nudge in the direction of folks who will love this style of darkish Americana. 

This is the second 2021 album to at least have some grounding in the concept of the faded seaside town and proof that a little delve into the murky world of loss, nostalgia, revenge, grief and obsession can make great song writing material. However themes are only one part of the jigsaw as Morning Bride add the missing pieces by cleverly curating some meaningful songs and then beautifully delivering them with a sharp creative edge. 

The vocals are led by the mesmerising presence of the American team member Amity Joy Dunn, whose voice leads and occasionally rotates with that of her two musical partners from this side of the pond - Mark Pearson and Pete Bennett. Together their talents fuse to guide you down a rabbit hole of threads all portrayed on a canvas adorned with a Beatles-esque left field brush. 

The focal track sees the term goodbye removed from the title as 'Seaside Danny Wilde' is a narration of Yorkshire miner reminiscing about holidaying in bygone days. The person referenced in the song title was a well known entertainer from the East Yorkshire resort circuit who frequently soundtracked the narrators' experience of these memories. 

Treating your listener to a stellar track up front is a canny move from Morning Bride and the revenge focussed death ballad 'The Storm Clouds' does this superbly with Dunn's vocals adding finesse to a top notch song. Also a decent way to depart the scene is in a phase of optimism and the band truly deliver this with the upbeat 'The Good Seed' jauntily spreading positive hope in the fulcrum that is the circle of life. 

As good as the first track is, it is its successor 'Just Visiting' that illuminates the album with a spine tingling chorus pressing all the right buttons. One where Dunn's vocals are right on the spot. Its theme of loss is most pertinent in these troubled times. 'Dear Hazel' sees more of a vocal exchange but still leaving the chief vocalist in the driving seat. For a bit of nautical mythology, 'Leucothea Rising' is next off the rank and we did promise things getting a little deep literally. 

Aside from the six-minute 'Reprise Danny Wilde' instrumental where the band experiment the sound a little to deviate slightly from what is generally a folky soundtrack, the remaining song is 'Apollo 13' . Here the writing focusses on obsession and peering out from a restricted existence. Sound familiar eh! 

In packaging GOODBYE, DANNY WILDE for the wider world, Morning Bride are unveiling a horde of sunken treasure for all to enjoy. Whether you call this alt-folk, anglo Americana or any anything you like, it is quite simply a lovely blended body of work, both cleverly and curiously devised and presented. An album definitely worth spending some time with. 

Album Review: Janet Simpson - Safe Distance

 

www.janetsimpsonmusic.com

Janet Simpson has been an active musician for well over twenty years as part of bands and other collaborations. Now this singer-songwriter, composer and multi-instrumentalist takes a huge step as a solo performer with the release her debut album. SAFE DISTANCE is the latest in the line of acclaimed records to surface via the helping hand of Birmingham Alabama-based label Cornelius Chapel Records. So joining the likes of Austin Lucas and Caleb Caudle we have an artist fairly local to the location of the label and in tune with the vibes of a shared sound that drifts leftwards in an alternative direction from the mainstream roads of rock and country. 

The twelve tracks forming this debut solo release roll out as a moody atmospheric batch of tunes, perfectly set up to what you would hear among the mist of dry ice in a mid-size indie venue. Simpson effortlessly glides between a smattering of punchy upbeat numbers and those of a more mellow disposition. A rock anchor is there throughout the dozen offerings, though one which spawned the alt-country movement and now seeking solace in the Americana community. From the magnetic swagger of 'Nashville Girls' to the acoustic overtures of 'Silverman' and deliciously tender 'Black Turns Blue' you are continually in the presence of a calm and measured performer adept at executing mature and enticing music. 

On the assumption that this album is primed for the vinyl generation, you can detect the evolution of the tracks, most prominently in the title song 'Safe Distance' acting as a renewed re-energiser in the mid slot of the digital range, but likely the lead off on side 2 of the physical cut. Though not on a vocal parallel, this high point of the album does ripple thoughts of Lucinda Willians in the style of song construction. The other song that strides out from the early plays is another that has been lifted off as a promotional single. 'I'm Wrong' has shades of a new wave post-punk influence and is definitely more suburban than its location cousins of urban and rural. 

The third single joining the latter and the aforementioned opener 'Nashville Girls' is 'Slip', a song settling into the two slot and definitely more pensive than its up front preceding co-number. Within the confines of the first three tracks we are whisked away from Music City and taken many thousands of miles west to where 'Reno' takes its name from Nevada's other less celebrated party ground. This is another luscious tune to arouse the ears and the point where the album starts to tone down a touch give or take the odd bout of ramped up guitar rock. 

Janet Simpson comes across an an assured unassuming artist firmly fixed on the prize of serving up an album with a twin appeal of being self-satisfying and catching the ear of its target audience. SAFE DISTANCE achieves this admirably and is an album with sufficient stamina to flourish well past release day. If you are a fan of electric guitar led semi-rock with a subtle conscious and poised demeanour then this album is one to mark on your 'to check out lists'. 

Album Review: David Olney & Anana Kaye - Whispers and Sighs

 

www.davidolney.com

www.ananakaye.com

David Olney passed away in January 2020, but what finer legacy could he have left than this mystical and epic compendium of collaboration with Anana Kaye. In a titanic meld of highbrow Americana and Eastern European mystique, WHISPERS AND SIGHS ebbs and flows across a landscape punctuated by sensitive ballads and jagged pieces of quirky rock. The eleven songs when you deduct the meagre thirty seconds of prelude and interlude listed to make it thirteen rotate around the two protagonists who dig deep within their own distinctive styles to blend a record both demanding and rewarding in listener reception. 

The core team enlisted to bring this project to fruition concentrated on the trio of Olney, Kaye and her partner Irakli Gabriel. As well as providing vocals, acoustic guitar, assorted keys and electric guitar, they all took equal status in the writing credits. To bolster the team John Hadley chipped in with the co-writing on half a dozen tracks. Also an assortment of additional musicians added to the mix most distinctly with the string arrangements providing an orchestral feel in places. 

David Olney has been classed as a songwriter's songwriter emphasising that his acclaim has been more within than outside in the wider world. Listening to parts of this album equate to the experience of diving head first into one of Tom Russell's extensive masterpieces. There are even moments drawing comparisons to Russell's own collaboration with Gretchen Peters. The insider quote to promote this album came from Mary Gauthier, which says a lot about Olney's standing in the Nashville and general Americana/folk songwriting community. 

While sadly Olney's work is now confined to the past, there is a ravishing bout of excitement in the potential of Georgia-exiled American based Anana Kaye (and that is the Eastern European version not the Deep South). Her voice echoes with a quirky elegance, best exemplified on the gorgeous ballad 'Tennessee Moon'. This track hit the high spot on first listen and remains a key component. It is the ballads where Kaye's talent mostly blossoms with 'My Last Dream of You', 'Why Can't We Get This Right' and 'Whisper and Sighs' leading the way. The latter does explode with haunting pretence in the final throes after being driven in the early stages by piano and cello.

To give the album a deeper and more eclectic gloss, 'Lie to Me Angel' ignites proceedings early on with Olney taking lead on this rockier effort. His vocal presence does fluctuate across the album, conventionally in the cello/piano led opening song 'My Favourite Goodbye' and the standard ballad 'Behind Your Smile'. However the contribution does get a little weirder when joining in on the Kaye lead rock-infused number 'Last Days of Rome' straight after the re-energising interlude, the left field 'The World We Used to Know' and the wholly collaborative six-minute closer 'The Great Manzini (Disappearing Act)'. The remaining track from the eleven evolving songs is 'Thank You Note' which is as demonstrative as what you get from Kaye in terms of reach and appeal. 

Despite seeing David Olney play live in a Nashville venue in 2016 where there was more interest in serving diners than absorbing the live entertainment, his music largely remains undiscovered in my book. In a fit of going back to front, starting with WHISPER AND SIGHS may be an odd progression (or regression), but there are likely riches to uncover. In contrast, Anana Kaye is at the other end of the scale career-wise and the prestige of working so effectively on a project like this can push her own brand of sumptuous Americana further forward. 

Album Review: Jake Ian - Everything Has Holes

 

www.jakeian.com

From the northern outpost of Edmonton Alberta emerges another singer-songwriter getting down to the crux of things in the empty barrel of a stripped down sound. The acoustic guitar and occasional harmonica from Jake Ian may roll around the walls of disused landscape but they prove the launching pad for ten songs as raw and real as you are likely to come across. Not that this Canadian is a novice as EVERYTHING HAS HOLES is his eighth album release and he his noted as a stalwart of Western Canada's folk and country scene. 

From the contrasting cover of a rather run down location standing stoically in the foreground of the most brilliant blue sky outpours ten songs that pay homage in some places to Townes Van Zandt and for a more contemporary comparison sound like a refined version of Rod Picott. The songs have a therapeutic appeal and are just the tonic when you want to chill out after a stressful day to some simple tunes. Of course like all singer-songwriters, the listener is invited to be active in the process of absorbing the poetic content of the lyrics, an attribute that shines right through the short period just shy of thirty minutes required to enjoy this album. 

EVERYTHING HAS HOLES may be low key and minimalist, but there is no shortage of craft housed within the songs. When an artist elects to go down this route, there is no hiding place. Jake Ian is perfectly at ease in this mode and certainly knows the ropes to max out the effect from exploiting his talent. This album is not an extrovert piece of art over pitching itself on a commercial plane. However it is a magnetic field for ears seeking an idealistic solace in the heartfelt sanctuary of a beautifully constructed simple song. 

Album Review: Andrew Farriss - Andrew Farriss

 

When you have been party to writing a bucketful of million selling tunes, it is likely that the knack is not going to diminish when new pastures are ventured and sought. This is the scenario of INXS founder Andrew Farriss who continues his foray into the world of expansive country and Americana music with the release of a debut self-titled album consumed by a strong passion within. His arrival in this field was met with approval in 2020 when a seven-track EP was released. At the time a swift follow up was promised and within six months twelve further songs emerge to stake a valid claim of someone with inbuilt substance not chasing a quick buck. 

Farriss draws upon his own depth of expertise and passion to deliver an album that finds a consistent groove on a plane higher than most contemporaries in his field. He uses a successful mix of a heavily produced and stripped sound to form a record that is both experimental and explorative while retaining that expected classy edge. 

Before you even dip into its content, Farriss is spot on with a cover capturing the essence of a whim, inspiration and desired outcome. There is even a resemblance to Don Gallardo, and that is a fine shadow to follow if you want folks here to take you seriously. 

When you hail from one vast land and have a desire to relocate your artistic licence in another vast land, it helps if you can create a travelling sound and this record certainly gets you in the mood for keeping on the move to the extent of being the perfect journey accompaniment. There are few moments when the soundtrack veers off the straightened road and Farriss adds a subtle darkness to his vocals that fit comfortably in the soundtrack he creates. 

Among the twelve tracks, there are two unsubtle reminders of that distant knack not being lost These are the pop-rock infused single 'Run Baby Run' with all its catchy populist trappings and the brash closer 'You are My Rock' when Farriss calls in the cavalry to blast a big hole in the finale with all guns blazing. 

The fact is that these two larger than life numbers easily slide in among the subtler songs to populate a varied record. Mandolin, fiddle and steel feature along the way as well with some detected pipes and whistles in the Celtic-tinged 'With the Kelly Gang'. My favourite track slips in at number six in the listings with a rootsy feel and country sheen lifting 'My Cajun Girl' from the tray onto the podium. 

Farriss's fascination with the wide expanses of south west USA are core to the detour down this route in a commercial capacity. 'Apache Pass', 'Son of a Gun' and 'Drifting' all evoke this imagery either with their sound or storytelling features. Also the atmospheric opener 'Bounty Hunter - Hummingbird' with a 90-second instrumental intro acts as the ideal scene setter planting images of desert and tumbleweed. 

With a distinguished facade and critically substantive undertones, Andrew Farriss shows that he belongs in this new world and delivers a record that resonates with grandeur and appeal. The strength and guile is apparent and most importantly it is a record that garners heaps of respect and enjoyment. 

Album Review: Portable Radio - Portable Radio

 

Power pop is not on the agenda here much these days, but it definitely played a part in the formative years when adolescence spawned an intrigue to cock an ear to twangy guitar-fuelled jaunty numbers infiltrating the charts both past and present. Fast forward to many years later and sprinkled among the Americana, country, folk and roots music that spearheads current tastes sprang an eponymous debut album from a trio labelled that very genre. 

So for a heady dose of continuous optimistically driven spritely numbers, Portable Radio serve up hefty and desirable portions of appealing tunes. Hooks, harmonies, ethereal tendencies and retrospective emotions all pour out of the eleven tracks that keep this album on the straight and narrow. It works for those moments when the mind needs a soundtrack to reminisce and music decides that a simple uncomplicated route is the right option to take. Stirring stuff to check out when you visit Bandcamp next. 

 

Album Review: Melody Duncan - Wolf Song

 

www.melodyduncanmusic.com

Talented and accomplished musician Melody Duncan opens up a new chapter to her career with the release of a debut album. Prior to WOLF SONG demonstrating a smart movement from supporting player to spotlight performer, this Atlanta-based artist born and raised in Mobile Alabama toured far and wide adding violin/fiddle/keyboards and vocals to The Mulligan Brothers, an act frequently rubbing shoulders with the stars of the Americana world. Now there is no hiding place. It's just Melody Duncan exposed to all the elements armed with a distinctive voice, plenty of song writing acumen and a crafted musicianship to cut a niche in a highly competitive field. 

Eleven tracks are plastered across the sleeve of this album, though you can deduct two for analysis in the shape of a 20-second violin led prelude kicking things off and the literal recording of a 'Rain Storm' closing things out just over half an hour later. The slight quirkiness of the finale is demonstrative of a creative approach to recording that frequently judders into eclectic moments leaving the listener beguiled and mesmerised. 

A self-confessed wolf obsessive, Duncan draws on the communicative facet of her fascination to enhance the sound and regularly adds interpretative whistling to the lashings of orchestral violin that all contribute to a raw chamber folk and roots fabric. It is the voice that ultimately snares the listener, one a little hoarse, cracked and croaked in places but never short of its own pervasive beauty. A touch of Brandi Carlile was detected at the end of 'Reunion', but it is a perceived likeness to Anais Mitchell that constantly nags the mind. However music can lead wherever your ears wish to take it. 

Of the nine self-penned songs presented for your aural pleasure, the three standout numbers in my book are the title track 'Wolf Song' splendidly springing into life after the prelude, the delightful 'Cardinal' awash with intrigue and the killer chorus-strong 'Over the Hill' dropping anchor in the album's heart. Maybe it's the tracks with the most prominent melody and striking chorus that linger long, but that's not saying there isn't plenty to absorb and enjoy from the remainder of the album.

Going solo has proved a wise move for Melody Duncan and the endeavours to plow an independent path on all fronts from writing, performing, recording to producing has reaped dividends on an album that blossoms to adjusted ears. WOLF SONG is a highly creative body of work that draws influence from multiple sources for a talented artist to put them through the mangle and produce something captivating  and utterly alluring. A debut album to savour and spin repeatedly when you desire to stretch your listening repertoire a little. 

Album Review: Johnny Ironsights - Murder Mountain

 

www.johnnyironsights.com

'No-one really gives a damn what we do on Murder Mountain' blasts Johnny Ironsights in an angry mood after a thirty-second twang fuelled introduction, thus setting the scene for what to expect from an album bound together by the power of punk and the substance of haunting pedal steel-driven alt-country. There is a mean and harsh streak from that stark opening to the point where the curtain is drawn to 'When I'm Gone, When I'm Dead'. In between Arizona-based Johnny Ironsights stumbles a few hundred miles west to his California roots to piece together a dip into some dark extremities of both place and mind. What unravels is a moving spin of hardened tunes that puts the emphasis on alternative, and pounds a slice of up front-in yer face impact. 

MURDER MOUNTAIN is as distinct a record as you are likely to hear decked with some sort of Americana pretence. Not that Ironsights is likely to concern him himself too much about fitting into neat little boxes. With an album and title track named after a place in northern California that operates outside the mainstream to put it mildly, likewise the music, themes and presence within the ten tracks presented here wander into inimitable circles. Yet there is a compulsive essence to lure you into the volley of musings, thoughts and candid explorations. This is an album stamped with an intriguing licence to delve into the music of Johnny Ironsights and emphasises the point that sometimes you just have to dive in head first and not dilly dally around the edges. Interesting - yes, enthralling - yes, blasts a deep crevice into an Americana scorched earth- definitely. Over to you to discover. 

direct.me/johnnyironsights

Album Review: Ninebarrow - A Pocket Full of Acorns

 

www.ninebarrow.co.uk

Dorset-based musical duo Ninebarrow literally spring into life with the early March release of their brand new album. Not only are Jon Whitley and Jay LaBouchardiere at one with nature in their themes and outlook, they also branch out into many familiar staple features of the folk world including exploring the traditional, drawing influence from poetry and turning to the trusty old shanty. A POCKET FULL OF ACORNS is Ninebarrow's fourth release and packed with a multitude of credentials to seal an acclaimed status in a genre that can be as demanding as welcoming. Any demands are met head on in the way Jon and Jay present the whole package of their music from song selection to the insightful comprehensive booklet that accompanies physical copies of this album, similarly to what they have done before. 

You could literally turn a review into a thesis if you took a real deep dive into the world of Ninebarow, but the beauty of albums like this is the experience can be as simple or complex as you want it to be. Taking a relaxed approach to the music will reap sweet cathartic rewards as the eleven songs cast a rural spell and embrace the breathing of fresh air. Dig a little deeper and you will discover the story behind the title track 'A Pocket Full of Acorns' with its literal inspiration of planting acorns in Napoleonic times. Discovery will also lead you on the trail of a twin William Barnes poetic influence in 'Zunshine in the Winter' and 'Cry Unity', while the work of Patrick Wolf is covered in a beautiful piano accompanied version of 'Teignmouth'. 

Ninebarrow don't really trade in standout numbers, more a general consistent stroll through their repertoire. They launch the album in their preferred mode of exploring and reflecting upon the beauty of the natural world in 'Come January' and 'Nestledown', the latter being a near six-minute original composition highlighting a fascination for the Dorset Warbler. 

Moving away from the natural world into something a little darker and menacing is 'Under the Fence' which uses the inspiration of a traditional song to update the plight of refugees marooned in the sordid world of migration camps. On a lighter note, who can resist another hop homage to the 'patron saint' of beer in the folk world - 'Hey John Barleycorn' . Likewise we are all induced into a folk nirvana for the twin pairing of the Morris-influenced 'You Who Wander' and 'Farewell Shanty', a song that does what is says on the tin. By the time the guys close things out with a gorgeous version of 'Sailors All', converts will adore while stalwarts applaud. 

Don't forget to savour the magical delights of A POCKET FULL OF ACORNS with the informative booklet. It really does add to the experience. Ninebarrow are hugely talented artists on many fronts with a finger on the pulse of a plethora of folk music facets. First and foremost they deliver an album fascinating in depth and accomplished in sound. The world is not such a bad place through the lens of Jon Whitley and Jay LaBouchadiere along with the other musicians they enlist for help along the way. 

Album Review: Dean Owens - The Burning Heart - Desert Trilogy Vol 1 (EP)

 

2021 is set to be a busy and extended year for Dean Owens. In a model closely shadowing what My Darling Clementine did last year, the plan is to strategically release a trio of EPs ahead of a full album appearing in the autumn. One difference to what MDC did in 2020 sees Owens only put one or two album teasers on each EP rather than effectively preview the entire record. 

The trio of EPs are titled The Desert Trilogy with each one of the March, May and July released records getting an appropriate sub-heading. THE BURNING HEART is the first of these EPs to see the light of day and comprises of four songs including one rehashed from the distant past. 

'New Mexico' opens this quartet and is probably the pick of the short sample. It began life on a distant album - THE DROMA TAPES - and in Owens' own words gets a 'technicolour' makeover. This is one of two songs set to appear on the full album alongside 'Here Comes Paul Newman' a Spaghetti Western inspired instrumental featuring some distinctive whistling. 

The major development for Dean Owens in 2021 is to bring his collaboration with Calexico to fruition, formally crowned in the album release of SINNER'S SHRINE slated for September. As a taster he has teamed up on the writing front with Calexico's Joey Burns for 'Tombstone Rose', a song that cements the ongoing theme of Owens being intoxicated by the magical mystery of music from the wide open expanses of south western USA. This part of the world also provided inspiration for the remaining track, 'Riverline'. 

THE BURNING HEART can also be translated into a slow burner. Expect this project to gather momentum with each EP release. This first one is an atmospheric scene setter that will without doubt evolve into a majestic coronation by the time Dean Owens collaboration with Calexico reaches its pinnacle moment.