John Andrews - Johnny Was EP

John Andrews - Johnny Was EP

East Belfast musician John Andrews released his second EP Johnny Was, a follow up from 2014’s self-titled debut John Andrews. Working with producer Rory Donaghy, Johnny Was retains an acoustic heart shrouded in a variety of genres and techniques that give it a large soul. Driven lyrically by stories of freedom, imprisonment, love, heartbreak and everything in between, Andrews takes advantage of the rich tradition of storytelling present in country music, adding components of rockabilly, hip-hop and punk to deliver a statement EP.

The EP opens with a fire and brimstone sermon delivered by a grizzled missionary, of whom Andrews is quick to dispel with a rock and roll riff that would assuredly leave the aforementioned preacher peeved. Rejection of religion is no new topic amongst the musical community, but the pervasiveness of Andrew’s rejection throughout the album is telling: rejection of religion, of barriers, being forgotten and even of musical genres. Despite his talk of prison walls (Love Letter), the commitment to refusal present in Johnny Was givens an overall positive vibe in the way that only an underdog story can. One man against the pressures of the world, you would be bankrupt of spirit not to join his side. 

Much like his lyrics, the durable acoustic backbone of Johnny Was is strengthened by elements that uplift and compliment what could be easily overpowered. Rhythmic strumming, vocals that vary from ethereal to full of grit, dense bass lines and breezy keys are all on the menu as Andrew croons his way through this EP. Not bound to acoustic country, however, parts of Johnny… sound as much like Radiohead as they do Johnny Cash, while mid EP track Wolves has a “duel at high noon” anger and blistering riffs that accompany the noticeable weight it conveys. Andrew’s has explored the depth of what one can do with country music without betraying its honest soul. Deep, raw and authentic, Johnny Was did exactly what an EP was supposed to do, teased the good to come without showing its hand. 


I am drawn to one particular moment, towards the end of album opener Pray. Through the opener, the omnipresence of the preacher's religious hatred is heard in the background, suggesting a trailing presence in Andrews mind of his younger days and inferring that he has not been able to fully expel the effects from his conscious. As the song dies down, and the speaker's voice rises, Andrew’s strikes one last power chord, cutting off the holy mans spiel, leaving only comforting reverberation in his wake. Defiant to the end.

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