Tommy Coyle
Album: Voodoo Sessions
Label: Fat Cat
Tracks: 13
Website: http://www.tommycoyle.co.uk

Tommy's a London-based singer-songwriter; originally from York, he moved down to London in 2011, where he founded the Camden Eye Open Mic, there meeting the three guys who were soon to become his backing band - Stephen Slesser (drums), Joe Watkin (bass) and John Fogarty (lead guitar). And they appear on the three cuts included as a bonus "single" with this, Tommy's debut solo recording, clearly representing a pointer for the future development of Tommy's act. He's also recently played shows at Alan McGee's Greasy Lips Club, The Half Moon and The Notting Hill Arts Club (under previous band name Costanza), so he's been accumulating quite an impressive CV.

Recorded at Gary Hall's Voodoo Rooms studios (hence the album title), this collection of self-penned material contains acoustic renditions of 10 songs plus (on the bonus single) a further three songs played with full band accompaniment. Which may be indicative, in that on his own, I gotta be honest, Tommy doesn't always quite seem to be able to do the songs full justice. There's good things going here, for sure - like the quality of instant and welcoming accessibility (Tommy's writing has been compared to Bright Eyes and Frank Turner, which makes sense in that context) and the affectionate passion with which Tommy delivers his thoughts. His is a readily companionable, if mildly reticent style that mixes indie with touches of post-punk, country and folk but without really settling anywhere in particular, whereas his guitar accompaniment is pleasing but often little more than functional.

Some songs are multitracked with additional guitar or keyboard parts, which help to add character to the songs - as in the case of Yesterday, one of the strongest creations on the disc. The leading track, Ahmed (a simple reflection on war), is also memorable enough to ensure demand for the repeat button, as are Out (a catchy affairs-of-the-heart number), Without Kids To Grow (a commentary on childlessness) and the passionate closer Square One. However, notwithstanding their attractiveness of expression and virtue of simplicity, some of the remaining songs don't have enough interest to sustain repeated home play - although Tommy is reportedly more compelling a presence when performing these songs live. And Tommy does seem to feel more at home when clothed in the indie-pop vibe of the three band tracks, with some really stylish lead guitar work on Marie in particular.

So there's promise here, but at the same time more than a little uncertainty about which direction to pursue, I feel. And, artistic separation issues apart, as a question of logistics, wouldn't it have been cheaper to have put all 13 tracks onto one 46-minute CD?

David Kidman