I’ve been getting into electronic music a little bit more recently, but I still have the deepest part of my musical heart reserved for singer/songwriters armed with nothing but an acoustic guitar. Scott Fant fits that description perfectly, as he employs his careworn tenor over a six-string for the five tunes of Pig Iron. Fant balances precise, melodic guitarwork with a careworn voice that includes weariness but isn’t defined by it. It’s not a gruff or rough tone, but one that has nicks around the edges, as in the excellent “Worse for the Wear.” The memorable vocals are framed well by both chord strumming and fingerpicking. Fant likes to remain in folk-singer mode, but there are some worthy blues inclusions (“8 Lb. Sledge”) and even a bit of classical influence (“Restless Wind”). Fans of Joe Pug, Joe Purdy and maybe even Ray LaMontagne (although without the romantic overtones) will eat this up. Fant is a strong songwriter that should be watched closely: as they say in the draft, he’s got a lot of upside and a really high ceiling.
Christian martyrs Quirinus, Sadoth, and Ri may not be household names, but Martyr’s Prayers by The Project moves them out of the Fox’s Book of Martyrs and into the musical sphere. The album’s best moments come when the band focuses on acoustic folk treatments like lead single “Romero,” the cello-led “Becket,” and the melodically memorable “Clement.” Most of the album leans this way, but there are some louder moments in the stories of the martyrs. The dramatic “Carpus” opens with arch piano arrangement before unveiling some wailing guitar work over the despondent chords. While “Bonhoeffer” has unexpected alt-rock guitar that disrupts the flow of the album, “Sadoth” is a straight-up classic rocker that fits the character of the album much more. It fits because the “classic” tag leans into some of the folk work too, as “Ignatius” and “Ravensbruck” recall the arrangements of older folk heroes like America and Simon & Garfunkel. Martyr’s Prayers is a unique album that’s worth a listen for fans of folk and/or church history, as long as some unexpected turns don’t bother you.
Killing Kuddles was introduced to me as a rockabilly band, but some of the “abilly” edges have worn off between then and now. Odd Man Out is a five-song release that leans heavily on old-school rock’n’roll sounds for its sonic and lyrical material (“Rock & Roll Is Dead”). The guitars clang admirably, the cymbals thrash mightily, and the bass wallops. The element that most signifies any sort of country-ish vibe is Elwood Kuddles’ raspy throat, which lands between a punk sneer and a Tom Waits growl. It leans toward the former on the rapid-fire opener “Not Coming Back” and more toward the latter in the folk-punk “Dropped the Pop.”
Killing Kuddles’ old-school rock sound has some connection to modern punk rock bands like The Gaslight Anthem and Titus Andronicus: bands that adhere to an old-school idea that rock should be loud and fast and unadorned by labels. Those bands might be right; it could be that I’m doing these songs a disservice trying to categorize them. If you like rock with the amps turned up and a rebellious sneer, Odd Man Out is going to be in your wheelhouse.