Sons and Daughters |
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It could be said bands like Sons and Daughters are a threatened species – i.e. they’re a Scottish band that actually sound like it. Not to be afraid, though, because Glaswegian indie-rock/folk karaoke isn’t something you should shirk at, especially when it’s as fun as this.
I will confess, though, that a year ago I had written off Sons and Daughters long before I ever heard them. It’s the Arab Strap connection you see. Both Adele Bethel and David Gow were both previously part of the Arab Strap live ‘experience’, and generally that’s enough to put me off my tea. Still, seeing them live changed my perspective on everything, and now Love the Cup is backing up my suspicions that not only has Scotland served up another great band, but one with the potential to get better and receive much more international acclaim.
Getting back to the present, the album kicks off impressively with ‘Fight’, an effectively simplistic song, shuffling on the snare, and using an almost monotonic approach to the guitar and mandolin. Yet the song occasionally threatens to burst to life and smash a bottle over your head in the process. It’s loose, it’s alive, and it’s fun, but it also carries a darker undertone that remains throughout the entire album.
‘Johnny Cash’ continues with much of that same passion. With the lead vocals switching to Scott Patterson this time, you get the impression the band are playing behind chicken wire, and when the chorus finally strikes and the boy/girl vocals start wailing, it’s like the spirit of a bar room brawl breaking out from your speakers. Just the style and feel of this song alone encapsulates the overall mood, and it hooks you early on.
There are subtler moments too. ‘Broken Bones’ is just a touch lazier, hanging on the bass notes, letting the natural Scottish brogue of Bethel take most of the attention this time, but it still threatens danger whenever the chorus approaches and the energy picks up. ‘La Lune’ too is more of a slow burner, despite a pounding bass drum refusing to let the pace drop. As the longest song, though, it has the chance to show additional depth, including further mandolin and sinister violin screeches, and as such is one of the strongest songs, even with an almost languid chorus of La’s. Then it all ends with ‘Awkward Duet’, which is possibly the prettiest song here, leaving you humming along as it departs.
I really never expected to like Sons and Daughters as much as I do now. The
vibe may be raw, and they may mix in some unmistakable Scottish folk influences
too, but the end result is some great songs that are fun to listen to over
and over. If there is any problem with it, it’s simply that seven songs strung
over 25-minutes leave you wanting quite a bit more.
Steven McCarron
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