If you have tracked the output from artists attached to Loose Music over, at least, the last decade or so, you will know the centre ground is rarely the trodden path. For their latest venture into the recording world of all things pre-fixed 'alt', the London-based label have delved into deepest Norfolk (or at least urban Norwich) to uncover a band spinning a sound not the usual fare you hear on the homegrown wires these days. Brown Horse have been creating a stir with each track unveiled culminating in the release of their debut album. RESERVOIR instantly draws comparisons with a world where 70s folk-rock meets 90s alt-country. A crude overview maybe for an album dictating its own presence and falling into the laps of active listeners schooled in the Americana psyche.
Since their formation in 2018, Brown Horse have evolved from a folk quartet into a six-piece combo fuelled by an escalating electric guitar presence and the assorted instrumental back ups. A rock-influenced double blanket of amplified strings and cracked vocals warms the ten tracks forming this inaugural release, yet beneath the layers stunningly good songs reside aching for discovery. Another Loose alumni, Dawes once said at a festival 'strip away all the guitars and you're just left with a folk song'. Simple but true and extensively evident in Brown Horse. If a more recent Loose Music artist likeness is sought, try Treetop Flyers especially in some of the vocal parts.
RESERVOIR is not an album to fully grasp even after the first few listens. Patience is a useful accompaniment. The pre-released tracks hinted at a robust undercurrent without strong hooks to lock in a song from the off. Even after buying into what the band have created, there isn't a particular track gnawing at your ear demanding constant repeat plays. Where the album scores highly is the deep rooted appeal from losing yourself into its evocative vibes from a dedicated listen.
The country channel chosen by Brown Horse is primed for the open eared and not the faint hearted. Opening track 'Stealing Horses' references Jimmie Rodgers and evokes a narrow band of country music in a track glowing in ragged delights. As the album flips over into the second half, 'Paul Gilley' sends you down a rabbit hole of curious discovery. A relatively undiscovered, yet apparently acclaimed country songwriter is heralded. We learn he is credited with the Hank classic 'Cold Cold Heart' and succumbed to tragic circumstances. The perfect ingredient for a country leaning song.
Brown Horse have also received the message of the role melancholy plays in making a record like this and rinse their songs in the muddy waters of dark matter. As you would expect from the rock overcoat, guitars, often of the heavier variety, frequently dominate the soundscape leaving your ears to strain a touch in tracing the fiddle, steel and accordion.
The unveiling of RESERVOIR highlights Brown Horse's position of making music at the edge. They have the ideal opportunity to create a niche in the UK Americana market wooing fans looking for something different in these homogenised times. A busy year lies ahead for the band with gigs and festivals lined up. A few overseas trips shouldn't be ruled out alongside recognition in those end of year awards. All that is for the future. January is the moment for folks to get their teeth into an intoxicating album.
