mail: daniel_fjall@hotmail.com
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sackcloth ‘n’ ashes secret south
Sackcloth ‘N’ Ashes It is quite difficult to describe the music of 16 Horsepower. Imagine Pink Floyd starting to play blues and putting all their atmospheric abilities into it, then they recruit Joe Strummer as the lead vocalist. That would not sound like 16 Horsepower at all, but that’s the best I can do for you right now. With mainly acoustic instruments the band manages to create dark and rainy blues, country and bluegrass. Often using violins, accordions and banjos with great results. At least it sets an impressive mood to the atmosphere. On the downside, however, is the vocals of David Eugene Edwards that sometimes are over the top and the songs tend to lose their individual strength in the hazy, nearly frightening atmosphere. However, melodies starting to appear after a couple of listens, you realize what’s going on and pay attention to the lyrics instead of just letting the depressive paranoia of the atmosphere sink in. Of course, the lyrics are not very uplifting either. If you are buying what the band tries to do here, you’ll like the album. You might even grow to love it. If you’re not sure what these Denver guys are about, but still gives the album a chance, I can nearly guarantee that at least a couple of songs will stuck with you, even if the majority of the material might seem more about creating weird moods, rather than writing good songs. Now, I’ve been listening to Sackcloth ‘N’ Ashes more than once or twice, and I hear the melodies, the emotions and I have even grown to appreciate Edwards vocals. Maybe not as a singer, but as a theatrical storyteller. And so what if he sounds like a gross mix of Thom Yorke and Jim Morrison, “Black Soul Choir” and “Heel On The Shovel” still makes a good case for the traditional American genres being more, a lot more, than “Amazing Grace” and “Tom Doodley”. Myths, submission, religion and fighting to survive are just some of the things that are extremely evident, not only in the lyrics, but also in the actual music. I guess you got to hear for yourself. I decided to give this album an 8/10 rating, which might be a bit generous. But it is good. Really good. You just need to get used to it.
Secret South Whatever I said about the debut album could be transferred to this review as well. Besides a couple of things. The atmosphere is still shadowlike and without belief in the future, but not quite as heavy compared to Sackcloth ‘N’ Ashes and has more modern touches here and there. Especially opening “Clogger” and “Cinder Alley” reveals a respect for the old, but yet a will to progress and develop into something new. Firm bass riffs leads both of the songs, with electric guitars all over the place, but suddenly, like in “Cinder Alley”, a violin appears in the middle of all, which adds a more organic and human-like feeling to the frenetic arrangements that sometimes boarders to chaos. The band always manage to keep things on the right side and never crosses the line to obnoxiousness. When things are more controlled and taken down a notch, such as in “Burning Bush”, based on a welcomed piano adding diversity, the results are even more impressing. It becomes nearly impossible to not be affected by it. “Poor Mouth” is also slightly laidback and the more listens this album is given, the more obvious the atmospheric talent of the band is obvious, as well as all sort of advantages in melody, riffs, lyrics and dynamics that makes up Secret South. Also, noticeable is how singer David Eugene Edwards has become less annoying and it seems like he’s trying to sound like himself, rather than a pretentious and self absorbed priest. Just as Sackcloth ‘N’ Ashes you need to give the album repeated listens before finally judging, as it is quite hard to appreciate if you’re not aware of what’s coming. For those who are fans of Radiohead’s Hail To The Thief, Roger Waters’ Amused To Death and most any Tindersticks-album. You just need to add some country influences. [Yes, “Nobody ’Cept You” is a cover of the Dylan song] |