“A timeless collection of observational vignettes, rooted in Americana, folk and swing.”  Into the Timeless Night, the fourth album from Bath-based Owl In The Sun takes a soothing journey away from the dark times and into the warmth and fizz of a French Café.

A TIMELESS COLLECTION OF OBSERVATIONAL VIGNETTES

Bath-based six-piece act, Owl In The Sun have certainly created some impressive waves since their debut album, Outside The City Way Of Things, first attracted national attention, back in 2009.  The band’s music has brought plaudits from the likes of Bob Harris, Mark Kermode and Greg James and the band’s fourth album, Into the Winter’s Night is likely to elicit more of the same.

Into The Winter’s Night has already been described as: “… a timeless  collection of observational vignettes rooted in Americana, folk and swing.”  The album is loaded with the Owl’s signature catchy melodies, lush instrumentation and tight vocal harmonies and the heartfelt songs take the listener on a journey that skirts the troughs and peaks of dark times and takes frequent visits to the warmth and fizz of a French café or a western barroom.

Owl In The Sun are: Colin Cain on guitar and vocals, Cathy Crozier-Cole on double bass, flute and vocals, Kate Bridge on fiddle and vocals, Tim Crozier-Cole on guitar and vocals, Damon Bridge on accordion and percussion and Tom Cain on percussion.  They’re an accomplished lot and each individual member stamps his or her presence firmly upon the finished sound.  The overall effect is joyful.

STRANGE FREIGHT…

The crisp guitar sound, the soothing vocals and, particularly, the sweet vocal harmonies that characterize much of Into the Winter’s night have an instant impact in West to Portland, the album’s opening track.  The guitar solo flows like a mountain torrent and Damon’s accordion is discrete but effective.  The shuffle rhythm that pervades much of the album makes its appearance for the gentle Stars In A Box.  The guitars sparkle that the stars of the song’s title and, once again, the harmonies are ear-catching, before Kate’s fiddle solo gives the song a closing lift.

We keep the shuffle for the jazzy Hall Of Mirrors.  Piano and rhythm guitar evoke a sleazy barroom setting, the vocals are clear and melodic and the twangy lead guitar lines are sumptuous.  A fluid acoustic guitar passage leads into the happy country shuffle of Rocket’s Song.  It’s a song that builds nicely and, by the time the refrain: “There ain’t no calling him back,” is reached, vocals and instrumentation are firing full-bore.

An album highlight, The Brookes Slaver is a fascinating folk song that tells the dark story of the design of a slave ship.  The song’s lyrics describe how the draughtsman tasked with the design work confronts the considerations he has to make to accommodate the ‘freight’ that the ship will be carrying.  Damon’s accordion and Kate’s fiddle push the song along, without distracting from the harrowing lyrical message.

HEADING FOR THE DRINKS CABINET

There’s a tasteful 1930s feel to the delightful, jazzy, Light Feet.  Damon’s accordion swoops and toots and guitars tinkle, whilst Tom provides a solid rhythm, as imaginary dancers sweep across the floor: “Light feet, when you’ve got your dancing shoes on; Light feet – they’re hardly there – they’re gone!”

The ingredients and technique required to mix a margarita (the drink, not the pizza…) provide the lyrical subject matter for The Margarita Swing.  The song is exactly what you’d expect – a jazzy swing; a compulsive foot-tapper, guaranteed to get any listener heading for the drinks cabinet, as Kate’s Gypsy fiddle bursts forth.

Canine howls and swampy sounds set the scene for Doggerland – a hot, steamy gumbo of a song.  Tom and Cathy provide the song’s solid, pounding rhythm, Damon’s accordion anchors the Cajun connection, whilst Cathy’s flute adds a mystical element.  And, as always, the vocal harmonies are gorgeous.

HARMONIES THAT WOULD CREDIT A BROADWAY BLOCKBUSTER...

The folky Witness Marks is a song with a Crosby, Stills and Nash feel, before the shuffling rhythm makes a breezy return for the bright, jazzy, Hush Hush.  And it’s the excitement that every performer feels before heading out onto the stage that provides the subject matter for the vibrant Dr Stage.  “Oh, Doctor Stage – give me your medicine, Doctor Stage – give me your dose,” sing the band, before Cathy turns up the gas with a wonderful flute solo.  And, yes, the shuffle rhythm is pervasive and the vocal harmonies would do credit to a Broadway blockbuster!

And, to close…  a lo-fi intro blossoms into a sweet rich, country ballad for the album’s final track, Sweet Loving Heart.  Wistful fiddle and a mellow rhythm provide the background to what might just be the most luscious vocal harmonies on an album loaded with such stuff.  If sweet Loving Heart isn’t already the final encore to an Owl In The Sun live show, I’m sure that it will be from now on.

Listen to The Brookes Slaver – a track from the album – below:

Owl In The Sun: Website

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