Album Review: Sneaky Bones, Little Words

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Taking folk and Americana to broader places, Sneaky Bones is Matthew Bean, who hails from Oregon. His latest outing, Little Words was recorded in Sonoma California, amongst the heart of wine-making country and is both intimate and all-embracing.

Musicians often just appear, fully formed and always there, like an alpine river you stumble across in the mountains.

As Sneaky Bones, Matthew Bean he has toured extensively in Europe and a little in his home country. In New Zealand last year, he played extensively from top to bottom. Having not heard of him, missed seeing him in front of a crowd. Word of mouth attracted a lot of converts along the path.

He has two principle collaborators. Sam Weber guitars and bass. Marshall Wildman on drums, percussion and keyboards. They toured with him here last year when he vanned it from Invercargill to Whangarei.

Opening track Running starts quiet, with a low key modest folk club voice. A subdued synthesizer backing. Colour is added sparingly with vibes and chiming tones, a few electric guitar riffs.

Two session musicians Ian McArdle on keyboards and synthesizer, and Owen Clapp on electric and acoustic bass help in polishing all the tunes here.

Outlaw is the single off the album and is much different. Drums come to the front; electric guitar framed by static. Possibly syn-drums. There are percussion instruments added and the music reminds me of some of the sparer rhythm collages on the great My Life in the Bush of Ghosts by Byrne and Eno. The voice also comes up more assured with the vaguest of Country twangs. So, he sounds more American, ya’ know.

Little Words and the sound is atmospheric, synthesizer and keyboards floating celestially. Acoustic guitar this time and the Voice a bit more Country. One that would fit in with the Notorious Byrd Brothers album.

Seething and turmoil on the ground. Calmness and healing above.

Same tone to Switzerland. Regret and longing. Matthew has toured extensively in Europe, far more than America. Currently is spending lockdown and social distancing with his parents in Oregon.

Why don’t we move overseas…a long way to Switzerland. Yodellay hee hoo. Having Swiss connections, I can sympathise.

Even If changes again to a fairly basic Rock sound, drums prominent again. His voice does sound more like Paul Simon here, and to be honest on many of the tracks.

Up at Night and Fragments are both meditative and contemplative pieces. Acoustic guitar through an effects pedal. A lugubrious violin. Ethereal and spooky like Twin Peaks mood setting music.

Already There is a longer piece and the landscape shifts. I’m tripping in this big machine.

Synthesisers start quiet, well up and build orchestrally and become expansive. Gliding over badlands, Nevada desert, Alamogordo.  Open spaces and ancient land. Ghosts, myths and lost people.

In the sweet retreat of the moment…the ashes and the smoke. A balm to raw emotions.

The Longing title suggest more of the above, but it rocks and we have more Eno/Byrne percussion and rhythm. A sound very suggestive of the Los Angeles Laurel Canyon era sound.

Matador does circle back to the start, with a naked vulnerable voice until the music builds and becomes expansive.

Fighting myself round after round, stepping out of the house, trying to make my skin feel as cool as my gaze.

He is keen to be back in New Zealand soon. Building a good following here so we will look forward to the next Sneaky Bones tour.

Rev Orange Peel 

Rev Orange Peel
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