Tag Archives: Carson McHone

Fresh Juice

Fresh Juice 12th January 2026

Carson McHone – Idiom

Welcome back and happy new year to all. I am starting the Fresh Juice feature for 2026 with half a dozen selections that I did not squeeze in during the 2025 editions. Kicking the year off, it is Carson McHone whose ‘Pentimento’ album was released in the autumn on Merge Records. Now based in Ontario, Canada, this was McHone’s fourth solo album in ten years of releasing records created in collaboration with Daniel Romano. It is a real audacious treat of a folk-rock album, ram-packed with the kind of structurally strong songwriting that stands shoulder to shoulder with the giants of the genre, but also infused with a mysterious alien spirit that lends the record an air of the unknown, like a broadcast from another star. This is superb.

Mclusky – People Person

Returning in 2025 with their fourth LP record and their first album in twenty years were late 1990’s, early 2000’s noise-punkers Mclusky. The record ‘The World Is Still Here And So Are We’ was released via Mike Patton’s Ipecac Recordings and locked straight back into the abrasive style they were always known for. Front man Andrew “Falco” Falkous continues to bring the noise but not without some regrettable toll on his hearing. Of the above track he said it’s “the song that gave me tinnitus, so asking me about it is really cruel. it’s probably about being overwhelmed by the world because that’s what all of our songs are about.”

Jon Cleary – Zulu Coconuts

This may not be the music to suit the weather on this snowy January morning but then again, perhaps this is exactly what we need. I defy you to listen without tapping your foot at the very least, but a hip swaying frug across the floor would be far more appropriate. Maybe if Jools Holland’s ‘Hootenanny’ had booked Jon Cleary instead of the friggin Kooks I might have seen the new in with a smile rather than a grimace. This song had actually been doing the rounds for a couple of years but finally got an LP release in 2025 on Cleary’s ‘The Bywater Sessions’ album. At the New Orleans Mardi Gras, the Zulu Parade takes place on Fat Tuesday and this innuendo laced song is a nod to the prized hand-painted coconuts thrown to crowds during the parade.

Sam Shackleton – O Death

As featured on his independently released 2025 album ‘Scottish Cowboy Ballads And Early American Folk Songs’, this brief home recording offers a tantalising taste of the authenticity in Shackleton’s music. He says of this that it is “on the banjo by the fireplace at my mother’s house on the lovely Isle of Harris, Scotland. This is a great American folk ballad and is commonly sung in the Appalachian region, where it descends from much older Scottish and English folk ballads carried there by the many thousands of emigrants that made the long voyage. I really hope you enjoy.”

Ben l’Oncle Soul – I Got Home

This was a wonderous, funky single taken from l’Oncle Soul’s seventh album released in 2025 called ‘Sad Generation’. It was a real-deal slice of retro soul that wore its classicist’s style with pride safe in the knowledge that the track is a killer that would grace any dancefloor. Ben is a French soul singer from Tours who is nothing new to attention grabbing cuts; he previously turned heads in 2010 with a cover of The White Stripes ‘Seven Nation Army’ and has built a deserved acclaimed reputation as a live performer who can deliver the Motown and Stax goods with a modern day cut and thrust.

Snarky Puppy & The Metropole Orkest – Chimera

Recorded live in January 2025, at KABUL à GoGo in Utrecht, The Netherlands, this is an addictive rendition of a piece from the album ‘Somni’ released on GroundUP Music. This was the second collaborative release between the award winning jazz collective and the Metropole Orchestra following the 2015 Grammy winning project ‘Sylva’. Bandleader Michael League had composed a deep, progressive even, piece that certainly warranted the grand cinematic treatment a full band and orchestra arrangement offers. ‘Somni’ could perhaps be called a concept album, exploring as it does the various dream stages of sleep in a sequential order that runs from falling to sleep to waking up. But, to be clear, this brilliant music will not make you nod off, quite the opposite.

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Fresh Juice

Fresh Juice 22nd September 2025

Scott Lavene – Cars

Scott Lavene took some time to find his voice, having busked extensively before retreating to solitude on a boat via stints in bands around France and New York, his breakthrough came around the time he attended a music workshop for recovering addicts. That awakening brought us a singer and writer with one of the most authentic voices on the music scene today, rooted in urban Essex with the poetic flare of an Ian Dury taking on the Sleaford Mods in a lyrical arm wrestle. He is self effacing, warm, witty and incisive in his observational detail, as his music jumps between spoken word narrative and soul boy intonations whilst the subject matter pivots across real life confessions and Scott’s wild imagination. His new album, ‘Cars Buses Bedsits and Shops’, is so named because all of the songs focus on those exact, recurring subjects. Simples.

Foxwarren – Deadhead

This one is accompanied by a video that is both divertingly amusing and a little disturbing at the same time. It feels like they took the songs title as a launch pad and decided to feature some actual dead headed puppets but eerily, still smiling and moving because after all, with its “don’t stop dancing” refrain, this is quite a light and bouncy number on the surface. The effect is wonderfully unsettling as this Canadian indie band, led by Andy Shauf, deliver their second album following their 2018 self titled debut, with a similarly satisfying analogue expansion of the introspection heard in Shauf’s solo work. Especially with those flute licks, this one is infuriatingly addictive and catchy.

Bret McKenzie – Freak Out City

There was always a suggestion when performing as comedy duo Flight Of The Concordes and delivering pitch perfect parodies of retro pop styles and artists, that there was quite an adept musical talent at work here. The trouble with comedy songs is, as a general rule, they are set up for just one listen and only a few are ever re-played. Once you know the joke, it is time to move on. Still, with a burgeoning side hustle composing film music, Bret did set out his serious musician credentials on 2022’s stringently straight ‘Songs Without Jokes’. Now with a new follow up album, of which this is the title track, he appears to have struck the perfect balance; ‘Freak Out City’ is a record driven by melodic tunesmithery without totally abandoning the droll, subtle wit flowing so effortlessly out of McKenzie’s modest, humble disposition.

Brandee Younger – Gadabout Season

Spiritual, ethereal and soulful jazz played with the harp as lead instrument is thriving in 2025. At least, that is how it feels with Brandee Younger releasing sumptuous music such as this, the title track of her new album available on Impulse! Records. It is the harpists third album with the label and feels like the closest she has been thus far to realising and developing the signature sounds in her minds ear. That it was recorded on Alice Coltrane’s harp is an apt connection, for if an exploration into this music’s roots were to be undertaken then those fifty year old heavenly vibes would certainly show up. Still, Brandee is plugged into the modern motions too, as the records collaborators like Shabaka Hutchings, Courtney Bryan, NIIA and Josh Johnson only serve to prove. Justified, stylish and stately.

Carson McHone – Winter Breaking

Carson’s new album ‘Pentimento’ is out now on Merge Records and it is one of the 2025 albums that demands some immersion. All of the songs entered the world as poems but McHone has nurtured and developed each of them into a song cycle that transports the listener through the four seasons. Comparisons are already awash with references to the late 60s/70s Brit-folk-rock sound and names like Shelagh McDonald and Bridget St John are accurately being tossed into the appreciation, but I hear a more contemporary edge seeping through as well. McHone may well find her musical soul drawn connecting with these wonderous vintage echoes but her head is firmly plugged into the present day and that kinship alone makes her first full-length album since 2022’s ‘Still Life’ a repeatedly rewarding experience.

Adrian Sherwood – The Collapse Of Everything

This is the title track from Sherwood’s new record and it somehow is a heading that feels depressingly pertinent in the current climate. Nevertheless, that it should be masterfully vintage sounding dub soundtracking the breaking and broken nature of the world around us at least seems very fitting. The audio landscape is both doomily oppressive and chillingly fatalistic but, in equal measure, soothing and resigned. This is Sherwood’s first solo album in thirteen years and the experimentally inclined dub maestro, so often the background wizard sprinkling his sonic sorcery on the work of others, is allowing himself to be the centre stage focus of attention for once. It is a full length record to set sail with, playing like a film soundtrack as it glides across worldwide musical territories and regions but rarely breaking loose of the dub backbone holding this phonic requiem together as one.

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