From Scotland with Love stands testimony to the increasing genius of Anderson and his craft.
Even without the sports and the cinema this record’s still a beautiful thing, flitting between affecting, inspiring, amusing and enchanting.
The strength of KC’s lyrical, narrative-led songwriting is such that, even shorn of their redolent visual accompaniments, the tales told in the likes of Cargill or Miserable Strangers are deeply felt.
An album that feeds the imagination and makes you long for mountains, open space, and something a little more natural.
From Scotland With Love’ is awash with Alba pride, from glorious patriotic soundscapes to Kenny Anderson’s distinct croon. But what’s most striking here is the album’s variety.
It's this type of depth and detail that brings the images to life, and working within the loose borders of a historical theme has allowed Anderson to produce the most focused and detailed record of his career.
Creosote’s first album since doesn’t have quite the same woozy charm, trading the lush and eerie textures for gentler, more traditional ditties, but that doesn’t mean there aren’t still pleasures to be plundered.
'From Scotland With Love' has some of the best instrumentation I've heard in any folk record from the 2010s. My main issue with this album is King Creosote's vocals. ON VERY FEW OCCASIONS, but enough for me to notice it, Kenny Anderson's voice sounded like Kermit.
This lyrical portrait of Scotland’s past and present has universal themes which those beyond Anderson’s defined borders being analysed here will relate to. The orchestration surrounding his alternative folk pieces make this his most memorable and most beautiful work to date. The short closing orchestral piece of ‘A Prairie Tale’ alone sufficient for repeated listenings. This is far from a one-dimensional album, with changes of tempo and eclectic uses of hot just ... read more
I'm so close to really liking this, and I do enjoy the laid-back rustic vibe at play here, but I can't quite get behind the vocals. The melodies are definitely strong, but there's a break in Kenny Anderson's voice that turns his tone a bit froggy. It's a bit too jarring for me to fully absorb myself into the music, and his voice didn't grow on me much during repeated listens. Still worth a listen, since it's probably a personal preference thing.
#18 | / | musicOMH |
#34 | / | Fopp |
#34 | / | The Telegraph |
#49 | / | MOJO |
#64 | / | Uncut |
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