Crooked Mouth return with album number four and the follow up to the very enjoyable One Bright Midnight released in 2015, which in turn followed on from their equally enjoyable albums Hold In The Sun (2007), and a personal favourite, the self-titled debut from 2003.
Based in Scotland’s capital city, Edinburgh, Crooked Mouth is the long running studio project of composer and guitarist Ken Campbell. Given the 20+ year history it is inevitable that the line-up has evolved, so along with those familiar names, we also have a few newer faces, however with Ken at the helm the band has retained much of its distinctive sound. A sound that is never afraid to ramp up the amp settings which they nicely balance by the liberal use of acoustic guitar and keyboards. On top of this we have a wealth of ear-friendly vocal melodies and, icing on the cake for me, the harmony vocals of Lynne Campbell and Eilidh Maclean.
There was initially a somewhat concerning discovery with the absence of lead vocalist Ken Haigh from the line-up, who was so integral to the previous albums, although in LA based vocalist Randall Thomas they have found an admirable replacement. Who, and it has to be said, is not too dissimilar to Ken Haig – both possessing strong, warm and sonorous voices. Given Randall Thomas lives the other side of the North Atlantic Ocean it’s not surprising the LA based vocalist offers a different slant, adding a characterful American edge to the proceeding, something we discover from the outset on the title track which opens the album. A slow burning acoustic, bluesy stomper with all attributes of a ‘stadium anthem’ – smart phones in the air please…
Now Crooked Mouth has never shied away from the heavier side and DragonflyEye is possibly the most muscular beast I’ve heard from them. This riff-hungry monster does however retain many aspects of their sound mentioned above, as well as some vocalisations not previously heard. To my mind what sets Crooked Mouth aside from the well traveled ‘ear friendly, harder edged AOR sound’ is their willingness to experiment and develop the tracks beyond the generic mould. So it’s a testament to the band that they have never anchored their music to any particular sound or formula which gives them their individual identity.
Even the album cover offers ambiguity, depicting an astronaut stood on an alien landscape which might suggest a sci-fi themed concept release? Not so, as the overall theme of the album reflects on a passage of time whilst contemplating ‘missed opportunities’? The accompanying PR mentions Ken reaching a milestone age during the recording of the album. Ken comments:
‘Lost:Time is a sort of letter to my younger self, a meditation on the things I didn’t know I didn’t know. Looking back it’s frightening just how fast life passes us by, but I didn’t want it to be all gloom and doom: there’s also an element of looking forward and asking, ‘where do we go from here?’
In some respects Astronaut, the first music released from the album and initially back in March 2020 as a taster, captures the essence of the ‘album title’. I’m sure we all remember what else happened in March 2020? Lost time indeed…
So, the longest track on the album and clocking in just shy of ten minutes is Astronaut, a jewel in the crown, and whereas DragonflyEye may well have captured some of the Crooked Mouth sound, Astronaut has the full space suit. The opening sweet a cappella vocals courtesy of Lynne Campbell and Eilidh Maclean, soon joined by Randall Thomas deliver the catchy chorus opening. This lays the foundation for Ken Campbell’s lightly picked electric guitar which in turn gives way to a rock solid, driving beat that makes up the the vast majority of the track. More of those earworm vocals along themic harmony guitars are then the order of the day. And it is only in the closing couple of minutes that we come (almost) full circle – softly sung vocals, muted strings and spoken NASA transcripts take the track out…
If any one track captures Crooked Mouth then Astronaut may well be it. I’m not suggesting that Astronaut represents all of their sound, far from it, but if this ten minute track appeals then so will the rest of the album.
So, following such an ‘epic’ is always going to be tricky, however the twisty Second Star does a fine job. There’s a lyrical tie up to the previous track, but also to the overall theme of the album. Atompheric guitar, taseful fretless bass and catchy vocals are again the order of the day. And those infectious vocals continue to impress throughout the remaining tracks. Particular note of the ovelapping layers of vocals in Angels Once and Shadows Of Our Good Intentions which sit very comfortably amongst the aggression of the music. For me it is that juxtaposition between the heavier instrumentation and sweeter vocals that set Crooked Mouth aside.
The album clocks out with This Time which again returns to NASA transcripts, this time around sat on a lush bed of strings, a programmed rhythm, harmony vocals and more tasty guitar from Ken Campell…
I’ve long had a great fondness for Crooked Mouth’s 2003 self-titled debut which still enjoys regular spins to this day, and because of this I have always been keen to hear new material from the band. Yes, it has evolved over the years but there’s also a comforting familiarity that says – this is Crooked Mouth.
TRACK LISTING
01. Lost:Time (4:05)
02. DragonflyEye (8:50)
03. Astronaut (9:24)
04. Second Star (5:13)
05. Angels Once (6:30)
06. Shadows Of Our Good Intentions (6:51)
07. This Time (The Astronaut’s Promise) (3:32)
MUSICIANS
Ken Campbell – Guitars, Additional Keyboards
Randall Thomas – Lead Vocals
Lynne Campbell – Backing Vocals, Percussion, Synthesiser
Eilidh Maclean – Backing Vocals
Tony Hodge – Drums, Programming
Ali Mitchell – Keyboards
Leen – Bass
Mike McCann – Bass
~ With:
Richard John Curran – Strings (1)
James Campbell – Guitar (2 & 3)
Larry Saltzman – Percussion (4)
James Pulli – Bass (6)
Miriam Speyer – Vocal (6)
ADDITIONAL INFO
Record Label: Independent
Country of Origin: U.K.
Date of Release: 5th April 2024
LINKS
Crooked Mouth – Website | YouTube