Recently, folk music has found itself
at the forefront of a resurgence. No longer is it destined to remain
a staple of spit and sawdust bars, specialist festivals and niche
radio stations. Nor is it only reserved for beardy types who have
memorised the entire Emmy-Lou Harris back
catalogue (although admittedly there are still a good amount of
beards at play). These days folk music seems to have returned to it's
roots as a music for the people, by the people. Sure bands such as
Mumford
& Sons
has catapulted it to the dizzying platforms of stadium shows and
bigger festivals than perhaps the public was expecting, but that
doesn't stop the plethora of acts and artists in the grass-roots
scene from plying their trade with enough heart and candour to make
anyone swoon. One such band are Cheshire's The
Last Scout.
A
four-piece act who formed through a shared love of acoustic music,
art and photography, The Last Scout are a band whose intelligence and
song-writing prowess are shadowed only by their obvious passion for
each musical undertaking. Having featured the band earlier in the
year and following their progress since, I was excited to learn that
the band have finally put together their self-titled, first EP, and
even though it's yet to be mastered, the record is a brilliant
example of just what the band are capable of.
Beginning
with an impactive fusion of picked guitar, cymbals and an effective
sample in the form of the intro of 'The Cowboy Song', The
Last Scout
kicks off proceedings in a brilliant fashion whilst embracing the
cultural heritage of a genre that bridges continental divides. Rich
vocal layers glide effortlessly over skilled finger-picking and
almost-militant drum rolls in a bid to contemporise an aesthetic
doused in Americana. All thoughts of the Wild West quickly dissipate,
however, when the first notes and harmony of the quaint and delicate
'Scar Love' follow on. A personal favourite of mine, 'Scar Love' is a
swooning and quintessentially British affair that adds romantic cello
and vocal layers to a backbone of subtle percussion and guitar. It
comes off sounding like the record Kate
Nash
wanted to make before she realised her lyricism left a lot to be
desired, and as such, it's all the better for it.
Indeed,
that should be the only comparison between the two acts. The final
three tracks featured on The
Last Scout
do nothing to hamper any expectations laid out by the first two, with
'Burn' particularly being a stand-out track in which a vocal duality
steals the show amidst haunting guitars. It's a darker, heavier
addition to the record, but a welcome one nevertheless, and it's
positioning allows the the proceeding tracks ('Alone Tonight' and 'By
Starlight' respectively) to sore back to the uplifting and romantic
heights established earlier.
One
of the most appealing facets of The Last Scout, is their decision not
to use their own images; instead the band create their own artwork
and photography to use within their work, choosing to let their music
and indeed the bespoke art that surrounds it to speak for itself.
It's an unusual way of doing things but it's a good way (one that
will appeal to those familiar with Canada's Arts & Crafts label)
and goes hand in hand with the folk image that The Last Scout are
upholding.
Folk
bands these days seem to be ten a penny but rarely is there as much
care, candour and romance at play as there is here. The
Last Scout
is a relatable and indeed important record, and not just for the
band. It's a statement, a statement that says folk music is still for
everyone. They're not just songs about the band's life; they're songs
about yours. And while it might be “a
perfect day for a breakdown”
it won't be as bad as you think, especially if The Last Scout are
sound-tracking it. Captivating stuff.
