Popping immediately into your head with fun songs you’ll be singing for the rest of the week, while breaking out in denims, Leeds’ The Burner Band kick off their debut album, last week, Signs and Wonders with a rock n roll blinder, but that’s not all they’ve got in them.….
The subsequent tune to Blues Came In, though, Block out the Sun, suggests, rather than mellowed blues, the blue is here cowboy-boot-tapping bluegrass, with spurs. A fast-moving fashion which continues throughout the album, fusing all Americana influences, and yeah, it sure is above snakes catchy.
As a solo artist, vocalist and guitarist Lewis Burner has supported the likes of Bob Log III, The Coal Porters and The Legendary Shack Shakers, appearing at Broadstairs Folk Week, Orwell Bluegrass Festival and Strummer Camp, and released two albums. Here he collaborates with Ian, absent surname, to create the duo The Burner Band, and it certainly does burn!
Company Man is acoustic goodness, nods towards Simon Garfunkel’s more upbeat moments; deep-rooted Celia, for if as their PR document suggests punk is an influence as well as bluegrass, and rock ‘n’ roll, it’s coming through remarkably subtle, typically folky. I say this because there’s a professional feelgood factor to The Burner Burner, rather than the rawness and unskilled tenet of punk; the simple country pop sound of it Takes Two, four tracks in, is enticingly gratifying, yet afterwards, this album takes serious themes, without losing the appeal.
You, the Devil and Me deals with grief, Search Deep, Find Out assesses morals and judgements. There’s subjects of mental health and murder, but it retains, above all else, it’s catchy charm and slither of flippancy, just by the upbeat nature.
Voodoo Queen, seven tunes in, being the most diverse with its Latino undertones, whereas with Pray for the Light, the folk-punk is now coming across, and it’s welcome to. Thing is, even suggestions of blues, as in Too Much Blues, is only in topic, sound-wise it’s rock n roll, leaving one to ponder if The Burner Band are capable of mellow! Though maybe they just held out for the memorable title track at the very end, with its Springsteen-esque narrative.
It’s certainly lively, filled with exhilaration and excitedness. It also sounds sincere Americana, even when dealing with satirical themes; Liverpool’s campaign to rid the city of The Sun, being most poignant. Penned wise, though, I loved Don’t Have To Listen the most, reflecting on teenage ignorance against the face of authority, for secretly in my own mind, I’m still a adolescent tearaway, and maybe, in a nutshell, that’s the appeal here; forget skin cream, this entertaining, quality toe-tapping bluegrass rock n roll merger will knock years off you!
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