This is the third album from Duncan Hamilton and Paul Burgess, who together are known as Katy Lied and who now feature the female vocals of Katie Harnett (not a deliberate referencing for the band name). They have enjoyed radio play with previous releases (Radio 2 played Late Arrival in 2008), but this third album is a bid to step up their game.
In the most part it succeeds, with some cracking country-folk. Harnett’s vocal giving the band an extra dimension and allowing them to explore richer and more varied material. For example, the acapella title track is so far from the Sonic Youth inspired Never Gonna Run, it could be a different band.
There is definitely a heavier edge to Winter Lightning than their first two albums, with Wrong Turn possessing a raucous guitar solo and there’s more during the opening Drivin the Miles, which takes us back to 70s driving rock at its best. Neither though is as good as the excellent Go Too Far, which is the album’s potential hit. It’s Harnett’s best moment, as she slips into Mary Chapin Carpenter territory, singing of just getting lost and throwing caution to the wind; “terms and conditions straight out the door.”
There are gentler moments, with the country twang of Holding Pattern and the delicate One Sweet Kiss, but it's the pacier tracks that work best. While the variety makes the album more interesting to explore it does make it all seem slightly disjointed. But give it time and the different layers to the tracks emerge. Progress indeed from Katy Lied.
In the most part it succeeds, with some cracking country-folk. Harnett’s vocal giving the band an extra dimension and allowing them to explore richer and more varied material. For example, the acapella title track is so far from the Sonic Youth inspired Never Gonna Run, it could be a different band.
There is definitely a heavier edge to Winter Lightning than their first two albums, with Wrong Turn possessing a raucous guitar solo and there’s more during the opening Drivin the Miles, which takes us back to 70s driving rock at its best. Neither though is as good as the excellent Go Too Far, which is the album’s potential hit. It’s Harnett’s best moment, as she slips into Mary Chapin Carpenter territory, singing of just getting lost and throwing caution to the wind; “terms and conditions straight out the door.”
There are gentler moments, with the country twang of Holding Pattern and the delicate One Sweet Kiss, but it's the pacier tracks that work best. While the variety makes the album more interesting to explore it does make it all seem slightly disjointed. But give it time and the different layers to the tracks emerge. Progress indeed from Katy Lied.
