This ain't no horrowshow...

I suppose as is traditional I shall begin this review with some type of exposition of intent. I was recently browsing a local music forum and came across a request from a good friend to review his latest musical offerings of his new acoustic ensemble. I gladly obliged and the results are on this webpage ("bitten by the animals" I believe), however whilst there I also saw a posting of a new song from another local acoustic musician requesting feedback. Having heard the name through mutual friends and being a long time lover of acoustic music I decided upon a voyage of discovery by selecting the largest of spoons to engorge myself indulgently to a large helping of this music. I am very glad that I did, it proved to be one of the finest and sumptuous banquets of musical delights and which I know full well I shall indulge myself in with ravenous appetite in the future. The person in question is Laura Catlow and this review focuses around the songs available for perusal on her myspace (www.myspace.com/lauracatlow).

I hope I am beginning to establish or underpin a level of credibility where I should no longer feel the need to justify or qualify any statements I make, this review as with any word I utter is delivered through true conviction of belief. I had I later learnt met Laura albeit briefly in a distant past but did not know of her esteemed musical prowess at this point. The following most likely lengthy and verbose indulgences are a true reflection which I hope you appreciate and resonate with.

I shall approach this by discussing my views on each of the six songs presented but begin and end with some general views and comments. There that seems to satisfy any requirements of housekeeping or scene setting that may be deemed required and I shall now get on with this.
I must confess that I do not know specific details of the origins and intent of this collection of songs, all I can offer is my interpretation and reflection such as it is. I am however fully of the belief that the best songs from the best songwriters welcome the listener in an inclusive manner that allows for their own connection. Where songs are written in such a way as to achieve the status of developing flourishing connections and resonance with their listeners this can be deemed as truly accomplished songwriting. This is definitively evident and I shall seek to prove this thesis.

I also do not know whether these songs are constructed as musical vignettes of experiences felt by Laura or in fact are acts of storytelling prowess and indication of a powerful and vivid imagination. In a sense I don't care, the end results are still highly pleasing songs of great value. If these are songs are formed of experience, then it is clear to note that Laura leads an interesting and varied existence awash with many intriguing characters within the melting pot of her life, if these songs are the work of imagination alone, then this is clearly evidence of quite powerful awareness as the learned references, ever ready charm and wit and sincerity that is used to deliver these moments conjures imagery with such consummate ease that makes Derren Brown pale in comparison in his distinction of a master conjurer. In fact Brown who is clearly and correctly a highly regarded illusionist and conjurer or as ,Stephen Fry would recant a man with a "black witches heart" is lastingly left to appear as a failed pitiful two bit magician on a pier of a dilapidated seaside town.

In addition to quite magnificently capturing emotion and many aspects of modern culture, this collection of songs has underlying social commentary that cannot and should not be ignored but in fact embraced and cherished. "Feeling Rough" for example expertly captures a snapshot assessment of modern youth culture, with its brilliant decomposition of the song's integral character as detailed within the storytelling arc of the song. This woman could easily resemble much of today's misguided youth, with her pursuits of hedonism, appreciation and that strangest of situations within younger people the mutual quest to appear different, individual and unique. Of course to appear any of those things cannot be accomplished with clothes or hairstyles but in fact with personality and demeanour. I find it almost amusing how so many people dress in certain ways purposefully for the ideal to be viewed as different when in fact themselves and the countless others who are attempting to do the same have no more appeared different then anyone subscribing to the perceived normality of modern Britain. "57 Manchester Road" seeks to continue this storytelling style fused with anthropological disseminations with assertions upon modern working class Britain, including aspects of poverty and misaligned dreams of hope and promise. Other songs serve as collections of emotion and reflections of feelings both inner and outer.

The musical homes these songs are provided are born out of varied references, briefly scanning the cited influences produces an interesting mix of classic storytellers and archetypal songwriter geniuses of the folk mould with example such as Dylan and Cohen. Anybody who cites Dylan as an important reference and bears these fruits in their output is guaranteed to generate my interest. There is a smattering of Brit Pop classics and interestingly Juliette Lewis and the Licks and the Buzzcocks of the more punk orientation. This reflects back to Laura's legacy of being an integral member of all girl punk band. Her acoustic music does not depart too far from these roots as the punk attitude of vociferous belief and conviction is ever present even if it is presented in a more fragile, stripped down and humble manner. Raucous powrchord riffs may be displaced with bluesy shuffles and modern styled staccato rhythms but the intent is still very much there. There is definite echos of The Libertines influence at play even if this is not directly cited, with the musical direction, poetic lyrics and delivery of modern and cultural references. If the ship of the Albion is now captained by Laura Catlow then its certainly heading in the right direction and I wish to stow aboard for the journey.

Laura's prodigious vocal talents contributes perfectly to these songs. Laura has clearly taken on board Wilde's assertion of "The Importance of Being Earnest" as each and every song is provided a real sense of drama and emotion that the excellent lyrics deserve. Laura's voice varies from an angelic, sonorous and soulful quality to a rawer, gritty and more natural sound as emotion and song dictates. There are quite frankly beautiful moments in both the openness of the delivery and humility that is present.

Songs such as "Feeling Rough" exemplify Laura's natural dialect in full effect and provide the song a staunchly greater reality to its subject matter. "Opinion of Me" and "Gorgeous" presents a soulful voice, dripping with sun drenched honey to depict its sweetness perfectly suited to the respective song's direction of introspection and yearning. "Skin and Bone" and "57 Manchester Road" have a vocal style that is conveyed with reticence bereft of the normal sweetness of Laura's normal singing style. Not to say that there isn't still the normal levels of charm within. The vocal presence of "Horrorshow" more than any of the other songs is seemingly overspilling with emotion. As I have said I do not know the relevance of personal attachment to the meanings of these songs, but this song really does seem brimmed with emotion and the vocal delivery truly matches this. There is a focused strength which juxtaposes against the inner felt angst that results in a vocal performance that cannot be ignored, but alas be enjoyed, respected and admired.

"skin and bone"

My first foray into the music of Laura Catlow came by way of the opening song on her Myspace account; "Skin and Bone". This song immediately established the same connection that my first listen to "Joy, Discovery and Invention" did for my initiation to Biffy Clyro. I must make it clear that I am not making musical comparisons from a genre perspective. The opening guitar and vocal lines of the aforementioned Biffy song that builds into the accentuated crescendo of the pre chorus had the same instant impact and delight within me that "Skin and Bone" had. A struck chord followed by a well fitting blues fill and then returning to other single struck progressive chords, is in essence quite simple but immediately affecting. This is also reused as a method to segue way between verses. Within those first few seconds my senses were opened to something of great promise that has drawn me in instantly and deeply. The introduction is promptly followed by a staccato rhythm that provides the perfect platform for the lyrical content of this song with its visible drive and intent.

The theme of the song is the recalling tale of a woman who has been deeply affected by the emotional turmoil that her experiences have presented. The lyrical dexterity and openness of delivery is clearly evident. The lasting line of the chorus of "when you look into her eyes you turn to skin and bone" is powerful on the written page but the starkness of the delivery elevates this and instantly presents an image of a woman so worn by the world that any love or hope has burned from her eyes to be replaced with a cold cynicism that provides the song's identified Medusa power. Perhaps the intent of this song is Laura's attempt to replicate Perseus's removal of this terror by metaphorically beheading the sadness away. In any event the song is powerful in its ability to provide its emotional message and draw in the listener. I'm not sure why I have veered off into this Grecian myth analogy so perhaps best not to question further and attempt to return to some normality.

There is the evidence of some of the best lyrical couplets I have heard in a long time specifically the following; "Cos her heart's too heavy when its made of stone, so she keeps it on her sleeve and carries it around, in case she ever needs a visual prop, for a tale of all the men who done her wrong" This is a brilliantly concise, succinct and focused work of great poetic value that surmises the song's intent.

The song breaks down towards the end into a different musical interlude with an increase to the intensity of the guitar and singing which almost borders on rapping for its speed of delivery. This section of the song instigates an added level of excitement that is ultimately paid off by returning to the same introductory exchange of single chord stabs and blues guitar fills before providing some final conclusion in a last example of the pre chorus and chorus.

"opinion of me"

Laura's own sense of frailty and yearning to be accepted, cherished and loved could be argued to be one of the keenest intentions of pursuit of love found within this collection.

This song opens with a blues type guitar shuffle which is promptly followed by soulfully sang lyrics. The song appears to be Laura's declaration of her perceived frailties and inadequacies. There is something quite touching about Laura's humility especially as it is presented with the usual charming and amusing lyrics. It is pleasing to note that a person who seemingly grasps many nuances of life with such seemingly consummate ease within the music she writes so well, still retains that level of humility and presents this in an open and honest manner. Interestingly she begins by denying that any comparison to what I believe is an X factor contestant cannot be made regarding her declared lack of abilities to sing or dance. Not being entirely offay with modern culture I had to look up the person who she was referring to. I would agree fervently that Laura does not replicate (wrong word) an X factor contestant. Laura has more soul and talent found in the briefest of moments within any of the excellent compiled songs she creates than any of the vacuous, formulaic, soulless entities that make up the modern take on the medieval concept of the jester for the king's entertainment that frequent that television show. So yes indeed Laura you are a songwriter and performer of conviction and true talent and never forget this or perhaps worst of all compromise or subscribe to the dreaded concept of "selling out". I'm confident this will not occur and if ever I sense any of this I shall be one of the first to declare this loudly to hopefully nip this in it's metaphorical bud so that this most enticing and flourishing of flowers can continue to reach for the sun.

The song continues in the same charming theme with discourses including autobiographical moments declaring a weakness for consultation which does appear at the contrary of her esteemed emotional understanding as documented in this collection of songs.

Laura states that she could be "so so lovely to you" but is wary in the most smile initiating way as being perceived as "crazy when [she] talks to cats". This most quirky and humorous lyric ridden with endearing moments, indicates clearly indeed a lovely person equipped with quirks and nuances of character traits. Which is the worse situation; a person so visible and conformed to what society requests or a person who distorts this view with their own intricacies and variant views. This is quite clearly a rhetorical question with a heavy and much justified biased towards the obvious answer.

There is one declaration within all the included inner angst that forms this song's journey. It is correct an opinion of her should be re-evaluate should be changed, however there is only person who needs to do this and that is Laura. If Laura can find the balance between retaining the charm and artistic awakening that is evident from her self reflective and humble nature and couple this with the a growing sense of self confidence confounded in the many praiseworthy traits on show then happiness and continued artistic success will be her companion.

"Feeling Rough"

A dissection of modern youth culture where emphasis is placed on a hedonistic stylised lifestyle bereft of content.

Chronologically speaking the next song is "Horrorshow" but at this moment I shall skip past this for now and move on one. "Feeling Rough" is a live radio recording and in many respects could be seen as Laura in the purest form.

The song's setting is largely that of a seemingly endless party with a hedonistic atmosphere drawing some kind of obscure parallel with the debauchery that Chaucer once chronicled. The underlying current that is however impossible to be washed away on, is firmly located in the almost tear jerking assessment of the song's protagonist. Laura is almost accusative and vindictive in the delivery and steely eyed direction reminiscent of a "Times they are a-changin'" Dylan.

The party setting is further established with the bustling nature of the guitar and lyrical flow where moments of pause or relapse appear to hang to punctuate the sadder themes of the song.
As seemingly popular or praised the song's subject may or may once have been, Laura brilliantly peels away these layers to witness a girl lost within all the noise. A girl who could be seen as the personification of modern day youth culture encompassing many themes

An instant reaction to this song is that the sound and Laura's performance takes on an Arctic Monkey's feel. After follow up listens this is at best lazy journalism. Yes the song starts with a solemn declaration before building to a more forceful pace and returning full circle to the same opening part, reminiscent of "Where the Sun Goes Down" and of course the vocal delivery is quite evidently more distinctly Northern than other performances. As I said this is a lazy journalistic response to urge to search for an immediately available pigeon hole in which to place her.

Firstly the vocal performance is distinctly more rough around the edges especially in comparison to some of the more soulful examples of her vocal range. There is nothing wrong and in fact there is much that is right with a performer that elects to deliver themselves naturally. In comment to the rougher sound, this perfectly fits the subject matter of the song. It would be ignorant to deny that Arctic Monkeys as well as many other modern bands of similar distinction bear an influence on Laura's music, but to blindly accept this and move on is ignorant at best and at worst completely narrow minded as to not soak up more of the other delights available for appreciation. Folk music is music for the people and is an ever organic entity. As more and more varied sounds and styles enter the public consciousness the greatest of the folk chronicling songwriters use and incorporate these techniques and style to deliver their messages to a suitably more receptive audience.

"Feeling Rough" manages to offer a different insight into Laura's impressive musical pedigree, but most important of all is that the song sounds and still remains clearly an original Laura Catlow composition. What is becoming a recurring theme of her music is the level of incite, passion, emotion and heart that is poured into every line, guitar line and note sang. This combination and many other superlatives combine together to produce the end result of the performance and music of Laura Catlow being truly unique and enticing beyond belief. Taking this extra moment of reflection instead of knee jerk reactionary views as is so often true in life is a worthwhile endeavour and in this case provides greater enjoyment and appreciation of the most endearing of musical moments.

"57 Manchester road"

A song encapsulating two great themes of anthropological analysis with poverty and the mass media's attempts to remover any thoughts of liberation through the sanitisation of banal media and cheating the dreams of the aspirational, furthermore this touches upon the media's representation of so called beauty. With model culture also being critiqued through the prerequisite that "when you're a model you've got to be tall." The song's varied themes are passed through a Carrollesque looking glass of aching heartfelt documentation of it's main character to highly satisfying results.

The song is harrowing in its tale and this is further expressed with the keenly meloncholic delivery it receives. Laura's innate charm provides a wave of momentum that take what could've been a tawdry almost dostoyevskyesque tale and elevates this to almost positivity amongst the ruin. It is as though as much as most of the song's dialogue may be centred around the dour and drawn, there is still an underlying hope that cannot be denied. This is perhaps presented in the way that Orwell would have been proud of in that one day the proles will rise up. If they will or won't is unknown but what is known is that the working classes will battle against the challenges of life with a smile upon their faces through Laura's eyes and this is indeed a great outlook. Only external observers heavily laden with their preconceptions and own form of conditioning are affected by these things when viewing, which of course makes an interesting point.

The song charts Laura's role oncemore as storyteller and her interaction with the character's life. Conversations are offered and presented with an Anglified etched charm such as "she said would you like a cup of tea, I said I'm alright. She said you might as well the kettle's hot, I said, Ok why not." This can be analysed into two areas either Laura's view of the character's much needed frugality and therefore not wishing for her to have waste electricity, which is of course a touching sentiment. Alternatively and perhaps in fact maybe its also the great English sensibility that anything can be solved with a cup of tea and no matter who or what we are, this custom should always be adhered to.

It is impossible not to be affected by the lines referring to "child's in a chair all covered in piss". As these images enter my mind added to by the lingering synth sounds like appear to howl an almost etheral tear jerking vibe, my mind flits back to my original correlation drawn towards Dostoyevsky and his harrowing and draining tale of the exploits of Raskolnikov. Perhaps comparrison to classic Russian literature is not the obvious direction to go with, but the same all-consuming and lingering sense of dread and despair I felt as an impressionable young man reading that great book was reintroduced in the aching sadness afflicted by this song. Truly stunning work.

"gorgeous"

A sumptiously melodic and focussed drive towards adoration and romantic endeavour, that is essentially the musical definition of charm and delight.

After the few moments that pass while a patiently wait for my suspect internet connection to deliver the next song, I'm left to reflect perhaps akin to that moment in a film where a dramatic climax is met with a few moments of silence before the credits begin to role before some somber strings are introduced. Was I allowed this sombre reflection, quite frankly no. "Gorgeous" comes belting out with exuberance, excitement and energy. The song is summery in it's vibrancy which serves as an assaulting perfect antidote to the ending of "57 Manchester Road". The song treated with a fuller band sound ensues delight with it's boundless enthusiasm and drive.
The song is seemingly an autobiographical recollection of Lauras's pursuit of a woman that the very pursuit is burned into memory and dissected into five individual experiences. The woman so highly viewed and achieving pedestal status to be neatly and economically be referred to in the song's passionate chorus as "what can I do when you're gorgeous and I can't stop looking at you." A simplistic lyrical phrasing but brilliantly capturing the sentiment of infactuation and adolation.

The song is full of the usual storytelling descriptive nature of many of Laura's songs and is ridden with charm not least of all at the crux of the chorus where Laura is asked "are you alright babe?", with her response of "yeah are you" with the charm exentuated through the removal of all the music giving extra power to the sweetness of the reply.

If "57 Manchester Road" is impossible to not feel affected and emotional after listening and absorbing then "Gorgeous" serves as the perfect antidote leaving a smile as the only possible outcome.

"horrorshow"

Any songs that have their origins firmly housed in the shadows and darker moments of life will often arise my interest. A bright and cheery song of love and happiness has its place in life, but songs that document the alternative side are often always more effectual in establishing a connection with their aural recipients. It is at our darkest hour when we search for the support of art to define and provide the craven emotional crutch.

I intentionally skipped past this song before in my commentary principally as I wished to end on this. Any one of the songs could have left this review on a high note, but highest of all is attained through my dissection of this my clear and adundantly identified favourite. The other songs have many pleasing and admirable qualities which I don't feel I need to revisit as I have done this at length already, but this song pushes the level that bit more.

The song opens with a gently picked chord progression that is well constructed to produce the result of quickly establishing a comforting understanding. Songs that have that almost classic value from a first listen are often born out of the fact that music provides that same sense of understanding and welcome through the direction that the harmony develops to provide a sense of delight and happiness akin to lovers embracing that first embrace after what has seemed and endless parting at a train station or airport. Train stations have long been a favourite place of mine for many reasons but opportunities to witness this being one of the main ones. Anyway once more I digress.

The song after initial and pleasing absorbtion is achingly sad in subject matter as what appeared once a powerful and passionate relationship is crumbling around the very ground that Laura finds herself on. The song is effectively a declaration or catalogue of many of the woes that she has felt interspersed with a flitting and fickle presence of mind, as though whilst she seems very aware that this is not right there is an unwillingness to let go. So "up and down" she may be "made to frown" but she is also at a quandry to understand "how all this relates to me".

Laura certainly has a musical and lyrical style of her own. Simplistic and open lines sit side by side with inciteful educated declarations, within the first verse of this song the mood and intent is set. The punctuated and almost tearful spite that accompanies "that's sick, next time that's it you make me think all this is shit" follows a comparison to an assesment of the situation with a reference to Burgess's A Clockwork Orange, but all this works very well and i fact seemless. The delivery is almost tiresome, lethargic or perhaps more correctly bereft of enthusiasm and apathy resulting from the overriding emotion of the song. Not to say there is any lack of committal quite the opposite but "Horrorshow", as with many of Laura's compositions perfectly blend expertly crafted lyrics that summise some of the most complex of emotions and experiences into neat packages and simultaneously the performance presented matches the intent of the song's story. Laura's varying performance can be said to be another part of the make up of her music it's almost like another instrument such is it's usage in the overall piece.

The verse ends and then a more focussed intensity is welcomed. The guitar picking is replaced with a good rhythmic strumming and the vocal has shifted away from the weary into at least on a concious level, although I detect not a sub concious level, to have more conviction and strength. It is as though Laura is seeking to mask her feelings from herself and is forcing herself to feel stronger. In a sense an example of musically burying one's head in the sand.

There is a moment of real beauty so aching with emotion that arrives in swathes that stands out from all other moments in all the other songs, where Laura's voice cracks momentarilly where the lasting line is delivered from the chorus. This in typically humble style would probably be described by Laura as a vocal failing. This I will not accept, this is the sixth song I have now analysed, paying particular attention to the vocal performance of each. Laura contrary to what she declares in "Opinion of me" can certainly sing. The moment of her voice subsiding and breaking is a perfect one second moment of Laura's innate ability to deliver real emotion and substance through performance to a song. The losing strength of the vocal line is to me Laura being overwhelmed by the emotional theme of the song, like if someone was to witness or feel an emotion so heart wrenching that the very life is drained from within creating many physiological defects such as motor functions and the ability to speak or indeed hold a note. This is a perfect moment in music and one which cannot fail to make me reflect upon comparable personal experiences of my own. Leaving sadness clinging to my inner self but feeling somewhat empowered by the overall amazing lifting experiences that is listening to and absorbing this song.

My favourite lyrics of all those presented within these six songs is "I couldn't hold you any closer if your head was stapled to my shoulder, I squeezed your ribs until they cracked under the strain of all the love I have". These two lyrical couplets hold and identify so much, that as the song continues to grow and bulldoze my heart with its beauty and deep reaching to my inner historical turmoil, I am left with an aching but opened heart and equally in awe of the excellent songwriting.

This lasting and driving connection is also felt with the simple almost glibly provided line of "your pretty face hides the obscene". I would be quite happy to state that this lyric has no personal relevance to me, sadly this is not the case. Laura is an artist in the true sense of the word. A person who makes no efforts to shield themself from the world with it's hopes and fears and highs and lows. I feel a true sense of appreciation and almost kindred spirit in this endeavour. Her openness of existence will provide her the opportunity to taste the sweetest nectar that life can provide of an emotional elixir that should be devoured with relish. Equally there will be bitter pills to swallow. This heart on your sleeve approach to life will make these moments difficult to take, but her wisdom denying her tender years and resolve will overcome all.

Whichever direction her emotional journey make take will provide her further enrichment to her bountiful and ever developing understanding and best of all I and others will get to relish in the musical interpretations of these experiences and views. Live life to the fullest so that we may continue to enjoy the musical side effects.

So in conclusion to this review I apoligise for the lengthyness, in future I am going to attempt to remain a bit more concise in my utterances. That said I don't apologise for waxing lyrical on this music as I'm sure it's quite apparent that these songs have excited me greatly and I shall now attempt to leave this in a hopefully short and simplistic manner.

If Laura can continue to craft songs with this level of charm, wit, intelligence, accessibility and deliver them with this musical prowess and same level of earnest and honest emotion, then I can categorically state I have no need to re-evaluate any opinion of her and the pleasure to listen and witness will remain indeed gorgeous.

Stu