Album Review: Sorrel Nation - Creeping Thyme
Sorrel Nation set the bar high with her debut full length release thus having to face the potential pitfall of the second album syndrome. This English southern-based artist with an eye for the road possesses all the credentials to maintain an upward trajectory and early previews suggested everything was on track. Upon release, CREEPING THYME ceases to be the close wrapped property of its creator moving into the domain of commercial appraisal. The returns are likely to be relative to the present level of infrastructure and it is the cumulative small wins that will guide an artist down a fruitful path. Within the scope of this nine-track release, sufficient nuggets sparkle like polished gems to light the way to a prosperous future.
Identity appears to be at the heart of Sorrel Nation - the musician. One refined by a split life with a significant chunk spent away from the humdrum of a conventional existence. This filters into the writing, which plants some escapist rhetoric into the mind of the listener. No greater than opening track ‘Chaos Town’, a number with a haunting beginning emerging to lament city life - ‘this concrete world where everything hurts’. This is the first notch in a carved niche forming the album into a distinct entity. The music style emanating from this first track emphasises a fluid nature to Sorrel Nation. She doesn’t embed into a single genre, preferring to let influences across a wider roots spectrum filter in.
‘Don’t Forget Me’ brings the tempo down to a place where the vocals blossom and a relished tone melts attuned ears. This is the sultry side to Sorrel Nation, which was a storied facet of her debut album. Strings, especially cello, play a prominent role on the record acting as a deepened backdrop to a voice carrying a meaningful lilt. Alongside the play on words, a playful showtime effect oozes out of title piece ‘Creeping Thyme’. Here the writing possesses a lure to engage with the abstract intent of the writer. The agenda has been set paving the way for a riveting complete listen to play out.
The middle third of the album flexes the music muscle in terms of reach with a diverse offering calling at different outposts. ‘Ran Johnny Ran’ has a crucial trait of landing an immediate punch. This happened when first hearing it live prior to a single release giving it greater exposure. A traditional leaning country sound shored up the Americana angle. First impression cried out for some pedal steel. We are not at that stage yet but songs can have many lives and this one is locked in for the long term. The semi acoustic nature to Sorrel Nation’s music, driven by the need to get around at times in a stripped back format, leads to some real gems. ‘Tell Me You Love Me’ is a gorgeous blend of straight up retro pop, something that could have topped the charts in 1960. There will always likely be a part of Sorrel Nation’s music influenced by the past. However a contemporary sheen and outlook will retain a freshness. The final part of the mid album lo-fi trilogy is the unhidden secret of Sorrel Nation being smitten by Sandy Denny’s classic ‘Who Knows Where the Time Goes’. There is an element of bravery in sending out another version of a much covered song. Critical response will come from the folk fraternity but a a strong case is made for an affirmative one.
This 40-minute album begins its final stretch with the groovier vibes of ‘When the Winter Breaks’, another track to benefit from the exceptional applied musicianship and further cementing of a natural world flavouring the songwriting. Effective backing vocals illuminate this song and, while Sorrel Nation is essentially a close knit band person, there may be some scope for collaboration. ‘Child of Autumn’ continues a skirt around the seasons with a carefree nature taking hold in the lyrics. This is another example of a tilt in a folk direction with its ending adding the vitality of a rocked up contribution. The amped up work of Sam Anderson is tactfully used to full effect both on record and live. It is rarely wasted and always adds value. Closing track ‘Real Damn Good’ goes a long way to definitively representing the album’s tone. Perhaps not reaching the heights of other songs but leaving the door tantalisingly open for a future that can transport an ingrained talent onto another level.
CREEPING THYME leaves a seasoned Sorrel Nation listener satisfied and lays its charm on the line for new recruits to hook up. Like its predecessor, a whole new world is entered upon release. Any pseudo run up is binned and it is full on promotion. A task eased when a top quality product is in hand.
