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From an Highland upbringing to wherever the hat was laid, Malcolm MacWatt has developed a broad and deep outlook featuring strong in his song writing. Traditions, stories, identity and justice pour from a curious mind finding an illustrative home in the music sculpted by a multi-instrumentalist background. The lure to borrow the term 'Transatlanticana' couldn't pass as it gets to the nub of what fires the passion in this Scot's approach to music especially melding a deep feeling of his homeland and all things Americana. On the back of a 2021 record joined by artists of the stature of Gretchen Peters and Laura Cantrell, MacWatt returns to the release cycle with an album full of countless nuggets, wise words and laudable appeal. DARK HARVEST is a full-bodied collection of almost entirely original pieces, politely requesting a return investment in listening intent. The deal is sealed when charmed by a sincere bunch of songs thoughtful in creation and richly coated in execution.
Short changing is not in the DNA of Malcolm MacWatt. Fourteen songs spanning an hour is the prize for clearing the listening schedule. You can probably double the interest time when satisfying a curiosity aroused from a multitude of characters and stories unfolding. One trait not requiring a follow up is a desire for justice and a deep-rooted pride in Scottish identity spilling over into the current political landscape.
While an independence stance, on the music front as well, and ploughing a solo highway is the path chosen or practically dealt, smart collaboration crops up in places. Highly acclaimed folk artist Angeline Morrison adds vocals to the relevant 'Empire in Me' continuing themes from her celebrated album. MacWatt couldn't envisage anyone else taking on this song. From across the pond, Nathan Bell lends a spoken vocal part to title track 'Dark Harvest' where uncovering the truth and seeking retribution sparks a true story from a Scottish island. You sense the values and leanings of this pair are aligned. The third credited assistance comes on the album's only non-original track. 'Out on the Western Plain' has its roots in the content spawned by the legendary Leadbelly, and for this version securing the services of Irish guitarist Pat McManus to provide a bluesy edge was a coup.
The album is bookended by a pair of tracks fuelled by a Scottish heart. Opening with 'Strong is the North Wind' and closing with 'Semi Scotsman' leave you in no doubt of a proud heritage. A smart move to announce your arrival and parting with such passion. Another track rooted north of the border is 'Heather and Honey' where the drawbacks of a Highland life are mooted.
One background nugget to resonate was the sentiment in 'The Nightjar's Fall From Grace' of quieter voices struggling to be heard. A travesty when theirs can be more meaningful than the opposite. MacWatt delicately makes his point in a delightful song.
Four historical characters yield their voice in song via MacWatt's writing. Early political icon Watt Tyler is the inspiration for 'The Church & the Crown', while a blackspot in English history is dealt with in the explicitly titled 'Brave David Tyrie'. We cross the Atlantic to learn about the sad plight of an unnamed Canadian first national in 'Red River Woman' where the story slates misogyny, racism and violence. James 'Scotty' Philips is the subject of 'Buffalo Thunder' with a Scottish slant added. As an aside, this song was first heard just after watching the Ken Burns documentary The American Buffalo.
The final trio of songs lodge in the second half of the album. 'Drowsy Maggie' opens with a Celtic-driven fiddle part, one of MacWatt's many musical talents, although he leaves the piano to others when the song kicks in dealing with the impact of drugs on society. This is preceded by 'The Last Bowman' influenced by a personal interest in archery, though the song soon hones in on other issues of preserving tradition. Preservation is the theme of the last song courting comment with environmental concerns brought to the fore in 'She Told Me Not to Go.
In some respect it is brave of Malcolm MacWatt to pack so much into DARK HARVEST. There are obviously so many ideas brewing and clamouring for space. Also, opportunity has to be grasped when you are an independent artist, and one has been afforded here via a second album link up with US based label Need to Know Music. The mantle has been grasped with relish and rich pickings run deep for likeminded music fans sharing the ideals of this singer-songwriter. Time and space are the keys to engagement. Also, no doubt floating on the horizon is this record hitting the road. It will come to greater life in a further explanatory format. Conclusively, DARK HARVEST is a record finely tuned to reach its audience and goals.
