Album: Johnny Flynn – Country Mile

Released 30th September, 2013

Transgressive

7/10

It may have been three years since Johnny Flynn’s last studio album, 2010’s spectacular Been Listening, but life certainly hasn’t been quiet for the Sussex Wit frontman. More accustomed to the theatre stage of late, his performance in hit-play Jerusalem was considered worthy of an Olivier Award nomination, whilst he’s channelled his Shakespearean influences in Richard the Third and Twelfth Night. He’s been cast in a new film alongside Anne Hathaway, and recorded a full soundtrack to the film A Bag of Hammers. A true chameleon of the arts. Oh and he’s become a father, making it all the more remarkable that Country Mile ever saw the light of day.

Those hoping for an album cut from the same cloth as A Larum and Been Listening will be pleased to know that the follow-up doesn’t stray far from their folk-rock formula. The quality of Flynn’s songwriting and the poetic beauty of his lyrics shine as bright as ever, setting this record alight with an earnest delivery and an authenticity that fellow ‘folk’ bands like Mumford & Sons can only dream of.

The title-track’s thrashy opening chords spark the album to life; it’s an electric-infused number where the rich quality of Flynn’s voice blends perfectly with a fierce guitar-led chorus. At the other end of the scale, the stripped-down ‘Gypsy Hymn’ brings the harmonising Flynn siblings to the forefront, where Lillie delivers falsetto vocals that astonish with a beautiful fragility. Underpinned with a warm piano ballad from Johnny, it evokes memories of the similarly-heartfelt ‘Amazon Love’ from Been Listening. This isn’t the only track with an air of familiarity, however. As a consequence of its position firmly inside the safety zone, some of Country Mile’s songs feel almost self-derivative, though at least they’re derived from the most exciting and captivating folk-rock sound in years.

‘The Lady is Risen’ employs the full range of Flynn’s vocals, and the whole spectrum of instruments he lends his hand to, being credited with guitar, vocals, trumpets, organ and piano on the liner notes (presumably not all at the same time, though that would be impressive). His quavering high-notes are nothing short of sumptuous and the crescendos roar with energy.

It’s more of a careful step sideways than a country mile forward, but the heart of the album never strays far from the surface. Imbued with traditional English charm and wit, tales of journeys and countryside, it further cements Johnny Flynn as the real heart and soul of Britain’s nu-folk scene.