Record Label: Dangerbird Records

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L.A based psychedelic rock troupe Darker My Love follow up their breakthrough album ’2′ with ‘Alive As You Are’, a laconic road trip soundtrack that never really commits to either psychedelia or rocking. 60′s reference points abound – ‘New America’ is a direct descendant of The Kinks, with Tim Presley’s vocals in particular evoking Ray Davies, whilst ‘Backseat’ brings to mind Lou Reed covering The Monkees whilst ‘sucking on codeine’. In fact, it could be said that the greatest failing of the album is that each track immediately brings to mind one of the band’s influences. The group effectively manage to create a pleasantly laid-back musical soundscape – ‘Rain Party’ is so relaxed it’s practically recumbent – but there’s little to really get excited about, and no real urgency on the part of the band to lift their sound beyond a cosily-familiar retro field trip. This could be excused on a debut, but now that they’re three albums in Darker My Love really should be doing a little more to put their own identity forward.

New Wave veteran Steve Murray has enjoyed a long and varied musical career since early success with ‘Fast Cars’ in the late 70’s. His CV peppered with numerous high profile session musician gigs, Murray seems to be one of those well-respected ‘behind the scenes’ guys who has finally decided  to take the plunge and branch out on his own, with backing band ‘Kingbird’. Together they offer an appealing brand of stripped back alt country numbers on debut EP ‘The Hand of Fate’.

There is a deliberate retro feel to single ‘So James Dean’, and it’s a real grower. With the shuffling charm of Murray’s accomplished guitar playing blending well with a strong chorus, a neat piano hook and unpretentious lyrics. Overall this is a solid 4-track EP from a ‘musician’s musician’ with a natural feel for a tune, who doesn’t feel the need to have to try too hard. The other tracks are ‘You’re So Funny’, the Tom Petty sounding ‘American Girls’ and ‘Twisting the Hand of Fate’. This fine, short collection is a touch nostalgic, and has that ‘lived in’ feel of later Lou Reed stuff. The harmonies could be tightened up a little and lead guitar brought out more, especially on the single. But there is enough here to anticipate a good album, which might turn out to be one of those sleeper hits like Richard Hawley’s Cole Corner.