It’s been a while since Last Charge of the Light Horse passed my way, but I have always remembered them and done so for two main reasons. Firstly, because they have such an excellent name, but mainly because they are a band with brilliant songs. Helmed by Jean-Paul Vest, his songs and the band’s deft deliveries pitch up somewhere in that oft-unobtainable sweet spot between rock and pop and indie and Americana—a sonic hallowed ground that every band, American or otherwise, should aim for.
Take Slash and Burn, a song full of resonant Paisley Underground intricacies and modern indie grooves, pop accessibility and underground cool. And for all its outsider sonics and long words, it is the most perfect alt-pop song of the moment. That is until Kindred Minds comes along, a more delicate and delicious piece, full of atmosphere and intrigue, bluesy sonic strands and beguiling sonics. Imagine being so good that you can knock yourself off any imaginary pedestals music journalists are prepared to construct.
With the title track showing that they have a great way with cosmic Americana and a song that feels like the end-credit music to the best modern western film you have ever seen, Too Young proving that they are no slouches when creating finessed folk-infussed music, and Jubilation ending on a funky seventies rock and soul groove, it becomes obvious that In The Wind is an album that you need in your life.
Trust me, I’m a journalist.
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[…] seem anathema to today’s zeitgeist. But this latest compilation from the excellently named Last Charge of the Light Horse delivers all of that, plus an overview of twenty years of marvelous and masterful music […]