Every so often, we, here at W&H, stumble across artists who continue to defy convention, whose music is so fluid it refuses to be labelled, and, whose range of styles makes the word eclectic seem redundant. You can now add to that select group the shy and complicated character LONE PIGEON, who, if truth be told, is probably producing the most exciting new music in Scotland at the moment.
The Lone Pigeon’s involvement, and subsequent exit, from the Beta Band are well-documented elsewhere, and this album, “Honda Hedge”, is, in effect, his fifth solo collection. Only available by mail order from the artist himself (check website for details), this cdr could be seen as a precursor to a proper release early next year.
An integral part of the Fence Collective, his brother is Fence head-honcho King Creosote, Gordon Anderson continues to startle with his skewed psychedelic pop/folk takes of the world. According to the self-depreciating Anderson, these are “some more throw away trax and conc rice/schoozzzmmii cast offs!” in reference to his last two albums, “Concubine Rice” and “Schoozzzmmii”. But in reality, “Honda Hedge” can only be seen as further proof of the Lone Pigeon’s emerging talent.
With 25 tracks spread over 56 minutes, it would be fair to say Anderson continues to infuriate his critics with half-finished snippets of songs, his desire to revisit old songs, his spoken word interludes and his refusal to stick to any conventional structure. Of course, for the fan, this is exactly what’s expected.
Of the older tracks that are reworked on “Honda Hedge”, there’s a beautiful double vocal on this version of ‘Waterfall’; ‘Silvership’ is transformed into a Beatles-type space-age jam; ‘Sally Bradwell’ is stripped down to a 40 second acoustic interlude; while ‘Boats’ is given a total overhaul, transforming it into an emotional, tragic, piano-tinged opus. In these moments, Anderson moves freely amongst the familiar, shaping them into something else entirely and, at times, something extraordinary.
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The new tracks also impress highly, none more so than the simply stunning ‘Only Waiting’. An insistent electronic backdrop clashes with rattling, tinkling chimes, amid a maelstrom of echoed vocals. It is, without doubt, the highpoint of the album, if not Anderson’s overall oeuvre.
On ‘Cold Mountain’ Anderson dons his Neil Young cap, ‘Dover Returning’ feels like a spaced out Radiohead, and ‘Tomorrow’ could well pass as another lost Beatles classic, while the influence of Ivor Cutler is all over the desperately sad ‘I Feel As Lonely As Shit’.
So, what probably only set out to be a filler, between ‘proper’ albums, could well turn into this year’s must have purchase. And, if nothing else, “Honda Hedge” contains the funniest story you’ll hear this side of Khartoum. Trust me on this one; ‘Garlic Sausage’ will have you on the floor.
A new studio album is rumoured to be out early next year, so if this is the standard of the “cast-offs” we’re all in for a treat. For those in the know, “Honda Hedge” is a welcome addition to the Lone Pigeon catalogue, while, at the same time, also being a superb introduction for the newcomer.
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