Alex Cornish – No Shore

It’s a difficult question for the musician at the grass roots, and one probably best avoided much of the time: am I in this for credibility or success? It would be interesting to speak to some of today’s giants who set out as bratty NME-bothering nobodies and now stalk stadiums, and to ask at what point the motivation flipped for them – if indeed they feel it ever did? It’s always going to be an uncomfortable concept though, and I suspect that sneering claims of authenticity and credibility will always be held over people who are making it work in the business. So I said some fairly dismissive things about Alex Cornish once – I don’t think I sneered but I did imply perhaps that he was less than sincere about what he did. But on “No Shore”, Alex‘s third album, there is enough genuine sincerity evident to keep the entire music business afloat just a little while longer while us cynical bloggers get over ourselves. And if it’s authenticity that we’re really seeking, it’s worth noting that Alex records the majority of this work at his home in Dunbar. Aside from some technical wizardry and instrumentation which isn’t readily knocking around the house, he also appears to plays the majority of the instruments on the album. There’s no shortage of songwriting craft on show here, and anyone who doubts the commitment or the talent here needs only to watch the recent Song, By Toad house gig where Alex performed a remarkable set with a string quartet in an Edinburgh living room. If Alex Cornish is in any business, it’s the business of making sure the world gets to hear his songs, and I’m sure that’s ultimately the reason every musician does this isn’t it?

As if to prove this point, “Rely” sweeps in with a touch of the epic. Ushered in by pensive drums and piano, soon the sparingly used and never overbearing brass section begins to shimmer around the song, returning to give the ending a touch of New Orleans. On both this and the initial “Storm To Pass” Alex‘s vocal delivery in this rich, dark musical setting immediately reminds me of Mark Eitzel – he sounds almost defeated, but then stretches to reach near impossible notes. There is something utterly compelling to me in listening to an artist striving to deliver a song like this, and any pre-conceptions I had about this record already begin to crumble. Next, piano, reverb soaked vocals and a delicately plucked guitar outline the plan for “Open Your Eyes”. This is a tune, and particularly a storming chorus which any of those huge stadium monsters would kill to get their hamfisted mits on, but in Alex‘s hands it remains a personal and simple effort – heartfelt, on a human scale, and never straying even close to the dangerous territory of self-importance.

There are however a couple of points on “No Shore” where I lose track of things a little in the dizzying array of musical riches on offer, and despite a promising cascade of piano at the outset, “Skyline of Paris” perhaps isn’t so engaging and disappears into the background as a result. But the mood is restored by “Keep Focus” which adds a shuffling beat to an expansive ballad, driven by an insistent piano line and shored up with dramatic strings. It’s clear by this point on the record that Alex Cornish has mastered the art of writing melodies which linger in memory long after the song has finished – and there are points in my day when I find myself re-running the hooks from “No Shore” in my head. This has to be some sort of mark of the success of any collection of popular music. Adding weight to this theory, “Always A Way” introduces a touch of radio-friendly country to the proceedings, but despite its evident accessibility and potential to reach all kinds of audiences who probably don’t read down-at-heel music blogs like this, it remains one of the most interesting vocal performances on the record. The lyric appeals to me too, an age-old tale of a search for a sense of place, which manages to evoke the damp and blustery east coast of it’s origins somehow. This will be a controversial viewpoint I’m sure, but at the outset “Breathe Slow” could be a Meursault song. There is something about it’s echoing, sweeping vocals and picked banjo and guitar which suggests a not-so-distant kinship, despite the musical approaches employed being poles apart. The whistling mid-song plays a cruel trick by referencing “Always On My Mind’, which gives me a weird but not by any means unappealing mind-picture of Neil Pennycook and Willie Nelson maybe one day sharing a stage.

What ever this record is, it’s far from background music – as the majority of Alex‘s songs here compete hard for your attention and refuse to let the listener off the hook without even just a little emotional engagement. Music designed to for easy listening depends on as little complexity as possible in order to exist just outside the concious attention of listeners, and this is far from that in the sense that it is layered with beautifully executed instrumentation, and full of engaging hooks and twists. The fact it is delivered with such polish and panache is, in itself significant. After all, there are two ways to approach the DIY ethic – by embracing and delighting in the rough edges, the pops and the crackles and letting the music stand as a document of the process, or of making the best of what is available and producing something which belies its humble origins, beating the big guys at their own game with solid hard work. Both are valid, and I never fail to be amazed at what musicians achieve on their own terms nowadays. But Alex Cornish has selected the latter and doesn’t let the resources available to him limit his vision. Maybe after all there is something deeply subversive and ultimately very punk rock indeed about a guy recording in his house reaching the Radio 2 audience? If you love well-executed folk pop, have an ear for a tune and recognise a great voice then its worth giving Alex Cornish your attention. You’ve nothing to lose except your preconceptions, and plenty to gain. If someone as stubborn and old as I can get over myself fairly publicly, then I’m damn sure you can…

“No Shore” is released on 13th June via Bellevue Records. You can find it on Amazon too.

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Alex Cornish, Andrew Jones and White Heath – Pivo Pivo, Glasgow

Even in my youth I don’t think I managed to go to four gigs in a row. This thought dawned on me today, as I lingered over a coffee and felt like I was properly on holiday for the first time in years! However, if there has been one aim this week, it’s been to capture as much of the energy, diversity and quality as I possibly can from the complex and confusing music scene here. I’ve been an admirer from afar from more years than I care to remember, but of course way back in the 1990s it was near impossible to be exposed to the diversity of music which the internet and decent connections allows now. So, despite my advancing years and dwindling stamina, I’m pretty excited about music again.

So, tonight was Pivo Pivo’s 10th Birthday celebration. This cellar venue near Central Station has hosted an incredible range of talented folks over the past few years, and it’s hard to believe that it’s a decade since the venue opened. Tonight started gently though with widely-tipped singer-songwriter Alex Cornish. There’s no doubt that he’s a talented guy with an ear for a radio friendly tune – which his recent BBC Radio 2 session is testament to. But for me it’s all just a little too easy, and lacks an edge. A Dire Straits cover is a step too far, and appears to be done with no sense of irony. It’s interesting to compare this to the young acoustic acts who played at the 13th Note a couple of days back – and to realise that they really want to be heard. Having said that, Alex closed his set with a song which featured a rather fine violin loop. I’m a sucker for violins, but I can’t forgive ‘Brothers In Arms’ even for that.It just wasn’t for me.

Next up was Andrew Jones performing without a band tonight, but for the first time with a female co-vocalist. She was nervous it was plain to see, but her crystal clear and pure voice worked beautifully alongside Andrew. Whilst not a million miles from Alex Cornish, the sense of purpose and self-belief was much more evident, and we got a witty and charming set, the highlight of which was ‘It Happened Another Way’ – a cautionary tale of bookshop literary romance which I’m sure many will relate to, the current writer included!

And so to White Heath. I’ve tried and failed to describe this band before – and I’m not sure I’ll succeed now. They shamble on stage, a collection of rather slight, somewhat geeky young men of the sort you’d expect to ply Oasis covers at a sixth-form disco. And then all hell breaks loose… Eschewing a traditional rhythm section, trombone and a single bass drum are used to startling effect. Over this piano, guitar and violin are laid, building an epic – almost filmic – sound, which occasionally hints at eastern and oriental influences. As a second song, without pause the band roar into ‘Election Day’ from their debut EP, the vocals turning into a pained, plaintive howl while the trombone tries to take the song into Eastern Europe or the Middle East. ’7:38am’ and ‘Leviathan’ follow with Sean Watson promising “some pop music next”. We’re not disappointed, as the band romp through the comparatively sunny ‘GG’ before returning to their apocalyptic roar with ‘Blue’. The crowd can’t respond favourably enough, and the band are clearly touched by the response. Now signed to the legendary Electric Honey imprint (who have previously championed Belle and Sebastian, Snow Patrol and Biffo Clyro among others) critical acclaim and widespread exposure can’t be far off for this remarkable and truly original band. I’m so pleased I was able to see them.

As I stumbled back to my adopted home for the week via a guilty visit to the Blue Lagoon, I reflected that I’d been somewhat spoiled for music this week. However, all being well, the run of fine Scottish music won’t stop just yet with Kid Canaveral due a visit to home turf next week! It’s been a varied, enjoyable and tiring week – and I only wish it could continue!