Opener ‘Devotion’ serves as the perfect introduction, Maloney’s vocals deep and rich and almost mournful. However, the instrumentation is shot through with a brightness which conjures hope or wonder, an inextinguishable thread that strings together the entire album. The slow, folky yearning of ‘Highway Sketch’ is followed by ‘Exits’, a track lit bright and electric, reminiscent of the insistent emotion of Shearwater.

“If we can’t conquer the ends,
we’re slipping over time and time again,
’til nothing seems enough to satisfy the time left
[…]
the kindest thing that you could do
is tear it down and turn it into something new”

‘The Disenchanted Age’ returns to a more restrained brand of folk, a slow-motion sinuosity flicking behind Maloney’s croon, before the strikingly simple ‘No One Loves You (Like I Do)’ written by John Lennox, all acoustic guitar and Maloney’s velvety and yearning vocals. This is followed but the delicate intricacy of ‘Passing Phase’ which plays like VSF-fave Psalmships with an added dose of sunlight, before ‘No Warmth Against the Light’ brings a morose moment made cinematic with glorious strings and gliding piano. The cinematic edge continues into closer ‘Only Sometimes’, which again highlights Maloney’s ability to craft atmospheric arrangements, the vocal harmonies and gloomy grandeur capping off what is an unquestionably evocative album.

The Memory Game is out now and you can buy it from the Steve Maloney Bandcamp page.

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However, in the year following the release of their last album, Huebert began to suffer from a severe inner ear condition, a problem which evaded conventional diagnosis. Anyone who has suffered from ear problems will know that they can be far more crippling than you would imagine. You can’t hear other people and can’t tell if they can hear you, leading to a profound sense of isolation and often panic. Indeed, Huebert suffered from anxiety and depression, a problem accentuated by the fact that the one sense he relied on to make sense of his emotions was taken away from him.

In lieu of a clinical solution, Huebert turned to meditation and prolonged silence and eventually began to piece together a new album, rehearsing with his band at very low volumes to ease the pain. The resulting songs ultimately became Nervous, an album that charts the period and explores the interplay between physical and psychological suffering, utilizing a beguiling brand of gothic art rock and the dream-logic of a labyrinthine haunted house, or perhaps of Huebert’s mind during the troubling period.     

The record opens with discordant instrumentation and unsettling children’s choir vocals that swirl menacingly like the theme of an evil cartoon. Huebert’s familiar vocals kick in after a minute or so, whispered through the reappearing choir and Colin Stetson’s sax with an earnest desperation, imploring you to listen. “Sometimes you get caught,” he sings, “sometimes you get away. It goes without saying.” The track sets a precedent of unorthodox song structure, with tracks on the album often morphing into distant relations of their former selves, swerving off in directions unseen.

The second track, ‘Bank Accounts and Dollar Bills’, is the pure embodiment of the aforementioned shapeshifting. It begins with a laidback tropical vibe with breezy vocal melodies, before entering a big, punchy (almost Arcade Fire-esque) chamber pop phase. Around two-thirds through it then mutates again, this time to feature sci-fi synths, before finally reverting to the easygoing slide guitar and thus completing the song’s varied cycle.

‘Violent Motion Pictures’ feels like a dream, with its opaque imagery (“Do you really want to see statues turn all the way around to say hello?”) and abnormal, fluctuating narrative. Stetson’s sax makes another appearance, snaking around like the tendrils of a nightmare and making the childlike falsetto “la la la” chorus sound more than a little ominous. The song switches at the halfway point, escaping its cramped and claustrophobic corridors, a creaky old door opening onto a wide and open plain. Huebert’s whispered vocals ride the swirling air currents, “The devil on your shoulder, it’ll get the best of you”.

‘Oval Window’ is perhaps the most similar to previous Siskiyou releases, a surprisingly upbeat song about the psychological problems linked to Huebert’s ear condition. “Maybe I’m just dreaming,” he sings, “sometimes it’s hard to tell”. The song manages to take a difficult subject and make it somehow triumphant, culminating in the refrain “the roof is spinning around me and I can feel the world below my feet”. The title track begins hushed and restrained (“does it hurt all the time? Yeah, I can empathize”) before turning psychedelic, while ‘Imbecile Thoughts’ is a folk-rock song, like a woodsy version of Wolf Parade, picking up the pace as the lyrics tell the tale of an introvert girl, “you gotta get out of the door girl and go look at the sky and wonder why the sun don’t shine like it should and why you are always so misunderstood”. The song builds and builds as Huebert breathlessly delivers the vocals and drums clatter and guitar feedback wails over everything.

Nervous is an album of dizzying scope and ambition, quite literally the tumult of sound and emotion inside one man’s head. It is by turns dark and creepy, shimmering and vibrant. Siskiyou have never sounded so eerie, so threatening, or so expansive. And I have to admit, I don’t think they have ever sounded so good.

Nervous is out now on Constellation Records.

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Nathan Reich – Motion Sadness

One of the joys of Bandcamp is finding artists and albums that would have otherwise passed you by via the music feed page. Nathan Reich, a songwriter and guitarist from Nashville, is one such find. Motion Sadness was recorded in one take and is, in Reich’s words, “filled with imperfections” as a result. This gives the release an organic feel, a real sense of the human behind the tales told, bringing to mind folks like Hip Hatchet and Psalmships.

You can buy the album on Reich’s Bandcamp page.

Brian Laidlaw and the Family Trade – Jeremiad b/w Glad For Every Burden

A couple of weeks back we featured a lovely record by Ben Weaver which was released by a new label run by the folks at Hymie’s Records in Minneapolis. Those good folks have also put out this 7″ by Brian Laidlaw and the Family Trade. A-side ‘Jeremiad’ is a pretty, reflective folk song with some nice strings and a rousing, romantic chorus. The record’s B-side, ‘Glad For Every Burden’ is a lot more countrified, with lyrics that hark back to a classic era of country and folk music. He sings in the chorus: “Oh honey I’m glad I’m glad for every sorrow that I’ve had, I’m glad for every burden / Without this old heart to weight me down, I’d fly away for certain.” You can get the single now via Hymie’s Records and if you haven’t got the Ben Weaver one yet then why not grab that too?

P.S. You can hear some of Laidlaw’s previous releases over at his Soundcloud page. I’d highly recommend it.

Sally Fowler – These Lines Laid Down

These Lines Laid Down is the fourth release from Virginia’s Sally Fowler. She has a fairly traditional sound, employing acoustic instruments and lyrics about sorrows and devils and crossroads, and her voice is strong and mournful and really rather great. If you like First Aid Kit or Laura Marling then it will be right up your street.

Sally started off covering songs via Youtube before progressing into her own material. You can find them on her Youtube channel.

You can buy the album on a pay-what-you-can basis via Bandcamp.

Siskiyou – ‘Deserter’

‘Deserter’ is the first single from Nervous, a brand new album from Canadian folk (?) band Siskiyou. The new album promises to be an advancement of the sparse and ghostly atmosphere of the band’s previous work, a foray into chamber pop territories recently inhabited by artists such as PJ Harvey, Nick Cave and Tindersticks. The mood and texture of the album is a product of health problems faced by lead singer Colin Huebert, who battled an inner ear condition which left him hyper-sensitive to certain volumes and frequencies. Also look out for the impressive roster of guest musicians, including Colin Stetson and Owen Pallett.

Nervous is being released on Constellation Records on the 20th of January. Pre-order it now to get a 12″ x 12″ art print of the beautiful Indian ink artwork by Michael Drebert.

Sarah Louise – Field Guide

Sarah Louise is the recording project of Sarah Henson, a young lady from North Carolina who makes music that feels as old as the Black Mountains which inspire her. “More than anything, these songs are a reflection of my home in the Black Mountains of North Carolina,” she says, “smooth-stone creek bottoms, delicate lunar-born mushrooms beneath rhododendron boughs, extreme changes in elevation.” Her new album Field Guide is coming out in the New Year on Scissor Tail Editions and it feels like a lost disc from Harry Smith’s Anthology of American Folk Music. Some of the tracks are inspired by old Appalachian hymns, while others have an almost far-Eastern meditative feel. It’s really, really good.

You can get Field Guide right now on a pay-what-you-want basis over at the Sarah Louise Bandcamp page.

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