James O’Hurley – A Certain Stranger
South-east London based James O'Hurley, a modern-day troubadour who mixes a contemporary sound with dark Americana, nu-country/ Celtic, blues, folk and rock, has, following a quartet of intriguing and enticing singles, released his debut album A Certain Stranger.
More importantly, the album, which features contributions from Erim Ahmet, Pete Briley and Graham Waller (each of whom bring multi-instrumentation or production/ sound engineering expertise to the album) lives up to the expectation set by the singles, all of which feature, including a couple in fuller-boded shape or remixed form.
The results are a well-crafted and highly individualistic sounding work that incorporates all the above mentioned genres.
'Intro,' a short acoustic & vocal piece with minimal (but well utilised) effects and atmospheric echo applied to James O’Hurley’s vocal, sets up 'Maria,' a nu-country/ dark Americana that carries a contemporary and atmospheric sheen.
Lyrically, 'Maria' pays tribute to someone O’Hurley knew, and was concerned for ("don’t go in to the night alone, where the wolves and thieves can follow you home").
'Maria' segues straight to 'St Jude,' an up-tempo, big-beat and full bodied number that carries echoes of early The Waterboys (James O'Hurley even sounds a little like a young Mike Scott here).
The modern nu-country/ Americana stylings of 'Red' is another winner, as is the two-and-a-half minutes of 'Evil,' a darkly impacting, banjo-backed, electric guitar interjected number led by a swaying rhythm.
The folksier and hauntingly arranged 'Wolves' is another that incorporates both banjo and a subtle rhythm; the results are a song perhaps best described as dark acousticana.
The more forlorn 'Four Long Days,' which accentuates James O’Hurley’s husky, slightly gravel-toned vocality, is a moody mid-tempo that makes it's mark through, again, its darker tone and O’Hurley’s lyricism ("silver and gold, the price you pay for every lie you told; a risk with no reward, they’ll sell you the freedoms you could never afford").
'Devil Don’t Knock Twice,' which slips seamlessly from James O’Hurley’s dark Americana sound to slow Memphis rock and roll, is yet another highlight, but truth be told there’s no weak link here.
Indeed, the album closes out as strongly as it opened, with the melodically framed, Motown-tinged charm of 'Grace' (smartly issued as a single concurrently with the album's release), dark Americana mini-epic 'Bloom' (the opening atmosphere and banjo-picked lines remind of the Eagles 'Journey of the Sorcerer;' no bad thing) and closing number, the ballad 'Lighthouse.'
A delightful, semi-ethereal countrified love-plea, 'Lighthouse' also helps give the album its title ("Stranger, are you certain, or still in doubt? Oh, Lighthouse on my shore, in this shipwreck, I am yours").
Two years ago, following a decade of touring, performing in various bands, and working in the live events industry, James O’Hurley was ready to hang up the guitar.
However, in one final act of love for his life-long companion, he picked up his guitar and "just started playing and let what was in me come out."
In that first session he penned both 'Evil' and 'Wolves;' the following day more songs flowed out of him and his guitar.
Now, with the backing of Top Floor Music, who carry a Mission Statement to ensure independent artists can remain sustainable as just that – fully independent – James O’Hurley should finally realise his artistic potential.
He’s certainly well on his way with A Certain Stranger.
Ross Muir
FabricationsHQ
A Certain Stranger is out now.
Spotify Link: https://open.spotify.com/album/7MzXSQ4Tm70qc98bJtY8cM
More importantly, the album, which features contributions from Erim Ahmet, Pete Briley and Graham Waller (each of whom bring multi-instrumentation or production/ sound engineering expertise to the album) lives up to the expectation set by the singles, all of which feature, including a couple in fuller-boded shape or remixed form.
The results are a well-crafted and highly individualistic sounding work that incorporates all the above mentioned genres.
'Intro,' a short acoustic & vocal piece with minimal (but well utilised) effects and atmospheric echo applied to James O’Hurley’s vocal, sets up 'Maria,' a nu-country/ dark Americana that carries a contemporary and atmospheric sheen.
Lyrically, 'Maria' pays tribute to someone O’Hurley knew, and was concerned for ("don’t go in to the night alone, where the wolves and thieves can follow you home").
'Maria' segues straight to 'St Jude,' an up-tempo, big-beat and full bodied number that carries echoes of early The Waterboys (James O'Hurley even sounds a little like a young Mike Scott here).
The modern nu-country/ Americana stylings of 'Red' is another winner, as is the two-and-a-half minutes of 'Evil,' a darkly impacting, banjo-backed, electric guitar interjected number led by a swaying rhythm.
The folksier and hauntingly arranged 'Wolves' is another that incorporates both banjo and a subtle rhythm; the results are a song perhaps best described as dark acousticana.
The more forlorn 'Four Long Days,' which accentuates James O’Hurley’s husky, slightly gravel-toned vocality, is a moody mid-tempo that makes it's mark through, again, its darker tone and O’Hurley’s lyricism ("silver and gold, the price you pay for every lie you told; a risk with no reward, they’ll sell you the freedoms you could never afford").
'Devil Don’t Knock Twice,' which slips seamlessly from James O’Hurley’s dark Americana sound to slow Memphis rock and roll, is yet another highlight, but truth be told there’s no weak link here.
Indeed, the album closes out as strongly as it opened, with the melodically framed, Motown-tinged charm of 'Grace' (smartly issued as a single concurrently with the album's release), dark Americana mini-epic 'Bloom' (the opening atmosphere and banjo-picked lines remind of the Eagles 'Journey of the Sorcerer;' no bad thing) and closing number, the ballad 'Lighthouse.'
A delightful, semi-ethereal countrified love-plea, 'Lighthouse' also helps give the album its title ("Stranger, are you certain, or still in doubt? Oh, Lighthouse on my shore, in this shipwreck, I am yours").
Two years ago, following a decade of touring, performing in various bands, and working in the live events industry, James O’Hurley was ready to hang up the guitar.
However, in one final act of love for his life-long companion, he picked up his guitar and "just started playing and let what was in me come out."
In that first session he penned both 'Evil' and 'Wolves;' the following day more songs flowed out of him and his guitar.
Now, with the backing of Top Floor Music, who carry a Mission Statement to ensure independent artists can remain sustainable as just that – fully independent – James O’Hurley should finally realise his artistic potential.
He’s certainly well on his way with A Certain Stranger.
Ross Muir
FabricationsHQ
A Certain Stranger is out now.
Spotify Link: https://open.spotify.com/album/7MzXSQ4Tm70qc98bJtY8cM