Tag: easy listening

Five Years in the Cotswolds: Lawton & Mack’s Breathtaking Debut Album

When I put together the 4 Julia’s House compilation albums a few years ago I decided I shouldn’t pick favourites out of the eighty-one songs donated, but if I had to, it would’ve indisputably been Atlantic O by Will Lawton and Ludwig Mack. With the ambience of the gods, this track is such a soothing sentimental earworm it makes you go all tingly as it drifts like a lost ship on the sea. Now the duo have released a debut album, matching the sublimity of Atlantic O. The story behind it is of an absorbing coincidence, and its unique marketing is equally as genius as the music….. 

At the time I was aware of the virtuosity and diversity of Malmsbury musical magician, Will Lawton, from solo performances and fronting The Alchemists. At the time he sent the tune for the project he briefly explained Ludwig was an Argentinian musician he had been working with, but their connection is far more complex and is explained in the book to the album, which is in turn, currently the only way to hear it. 

A story of serendipity expressed earnestly through a 36-page hardback, which continues to detail the thought processes of the album, each individual song, and the musicians which accompany them along the titled journey Five Years in the Cotswolds. Then, on the back cover there’s a QR code to scan, leading you to streaming options; I suggest you do, your ears will love you forevermore.

Enticed by the lure of English music, and his European travelling plans cut short by the pandemic, Argentinian musician Ludwig Mack arrived in the UK from Spain a day prior to lockdown. He had already connected with Will via Instagram, not realising when he settled in Hullavington he was coincidently only a few miles away from Will’s home. They jammed together, the song Atlantic O, and within a year produced the EP Heroes.  

Ludwig explored the UK, and found work whether he could, whilst Will continued with family life, his band the Alchemists and his employment as a music psychotherapist. But Ludwig often dropped in to see Will, and it was inevitable this project would blossom like the opening tune, aptly Blossom, a tender springtime daydream contrasting aging with memories. It’s as majestic as the morning chorus, and includes a naturally sourced one too.

The fabric of this album continues on this theme, indeed Songbird follows suit into the most gentle flow of concentrated bliss. It’s the first single released this Friday (10/10) of the goodness of nature rather than society’s machine, unhinged and timeless piano-based folk, and celebratory of the glory wildlife in all its splendour, wrapped in the warmest serenity. By its very composure it defines the sum of all this goodness and shapes a heart in your mind; if an album was a wander through a springtime meadow, this is a stroll to remember.

It comes as no surprise Will is a music psychotherapist, if the vocation is to improve wellbeing, increase happiness and overcome issues. One listen to Five Years in the Cotswolds is the best remedy. Ten solid tunes, all the like to make the little hairs on the back of your neck stand to attention. There’s few artists able to accomplish this, I could cite many, from Bill Withers to John Denver and you will contemplate your favourites when this caresses your senses.

The album lifts with euphoric pace at God’s Plan, and I’m left thinking of Marvin Gaye’s What’s Going On as its aperture opens the album to a similar width of beauty. From the guitar chimes of November to the quirkiness of the bluegrass-esque Walk Each Other Home, and from the amorous ambience of Clouds to Freya Everest’s haunting vocal range on I Noticed, this album continues flowing on the theme as a paragon, never meandering off course.

Its production is as crisp as autumn leaves, the arrangements are like sunlight. The composition is a Vivaldi, its versification is W. H. Davies’ Leisure, the musical expression of a Monet, a pilgrimage to a Constable masterpiece, or all of these wonders capturing the beauty of nature equally combined and consumed, it really is this breathtaking. Devizine

Its production is as crisp as autumn leaves, the arrangements are like sunlight. The composition is a Vivaldi, its versification is W. H. Davies’ Leisure, the musical expression of a Monet, a pilgrimage to a Constable masterpiece, or all of these wonders capturing the beauty of nature equally combined and consumed, it really is this breathtaking. 

Bath’s producer and musician, Rob McLeod, aka Mac Lloyd, Spanish multi-instrumentalist Guillem Mitchel, London based jazz singer-songwriter and producer Freya Everest and drummer Tony Partridge who met Will at Schtumm in Box, are the other collaborators behind this enchanting project, alongside composer and arranger Benjamin Lawton, Will’s son.

Streaming platforms are held off until next year on this, the book to Five Years in the Cotswolds is the album’s only current access point, and is available on their website, and at upcoming gigs, The Castle, Swindon on 16th October, and Pound Arts in Corsham on 6th November, details of which are also on their website.

Will Lawton & Ludwig Mack

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Harmony Asia Can Do This

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The Mystery of Nigel G Lowndes

Must have been about fifteen or so years ago, random folk in a pub told me they were off to the Rocky Horror Picture Show. I was surprised to hear it was still going, and had it in my head its writer, Richard O’Brien had passed away. I pointed this out, and they refuted the fact. Someone pulled a mobile phone out their pocket and, in a flash, proved me wrong. With a virtual reference library at one’s fingertips the lively debate which would’ve, in previous times, circulated around the boozer, was kaput, the potential conversation starter settled, and the pub fell silent.

In the interest of truth, provided it’s a trustworthy source, fact checking is no bad thing. Obviously, I wished no malice on Mr O’Brien, just an incorrect piece of trivia I’d picked up. But it was the first time it occurred to me, sadly, as well as the art of spreading urban myths, we live in an era where any mystery is immediately solved. I mean, loads of money was wasted hoping to find the Loch Ness Monster, but if an Android app actually proves it either way, the myth is ruined. Bristol-based Nigel G Lowndes nails this unfortunate reality in the title track of new album, Hello Mystery.

But whoa, we’re getting ahead of ourselves. Mystery is the eighth track of this varied ten track show, released tomorrow (26th March 21.) To commence at the beginning, the direct boomer, Boring screams Talking Heads at me, and I’m left thinking this is going to be an easy ride, one comparison to art-pop and I’m done. But, oh no, far from it. And it’s all because Nigel is a one-man variety show. To conclude there’s elements of tongue-in-cheek loungeroom and easy listening, akin to Richard Cheese or The Mike Flowers Pops, although there largely is, is not to have listened till end, where the finale Always Leaving London, is an acute folk-rock acoustic masterwork.

Track-by-track then is the best method to sum up this highly entertaining album. As I’ve mentioned you’ll start by contemplating he’s a 21st century Talking Heads without the punk edge of the era. But the second song, Tell me Tomorrow would confirm this if it wasn’t so much more vaudeville than the risky titled Boring, (as all of it is far from boring) but it’s becoming clear not to take Nigel too seriously.

When a relationship breakdown, caused by the partner’s affection for some critter-like pets he buys for her is the subject matter for the third, bluegrass parodied song, Furry Little Vampires, it’s become laugh-out-loud funny. Country and doo-wop merge afterwards, but the fifth track, Bubble, has a Casio keyboard samba rhythm with a floating romance theme. What are you doing to me, Nigel?!

As randomly foodie based as Streetband’s Toast, we’re back to uplifting art-pop with the very British notion a cup of tea will sort all your problems out, even psychosis. But random as this is, White Roses, which follows, is a more sombre nod to Nigel’s appreciation of country. Stand alone, it’s a gorgeous ballad; Nigel recognises the need to know the rules in order to break them. As he does by the very next song; Shoes follows country-rock again, but with a sillier, nonsensical subject.

The album plays out on the country tip, its influence seems to build throughout. The aforementioned obituary to mystery is as wonderful in thoughtful narrative as a country classic, and then we’re treated to Always Leaving London. Despite its skipping variety, nothing on Hello Mystery will, as the beguiling opening track shouts, bore you, that much I can guarantee.

If you’re looking for dopily swaying while holding your elongated black and sapphire dyed fringe under your hoody, as a melancholic indie-rock icon miserably recites his teenage anguish with a whining semitone through his nose, then avoid this. For everyone else, Nigel G Lowndes is very worthy of your attention; a sparkly beacon of showbiz, more surprising than a contemporary David Byrne with a Stetson, and when it comes to diversity, it puts The Mike Flowers Pops back on the shelf in the garden centre. Hello Mystery is as it says on the tin, and for this I give it full marks. Johnny Cash pastiche meets Tonight at the London Palladium; love it!

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Spotify Link to Nigel’s singles from the album, released tomorrow, 26th March 2021.

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