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Salter Cane | Salter Cane

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UK - England - South East

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Rock: Americana Rock: Folk Rock Moods: Mood: Brooding
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Salter Cane

by Salter Cane

Intense and urgent country-noir - somewhere between Joy Division and Johnny Cash.
Genre: Rock: Americana
Release Date: 

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  Song Share Time Download
1. Long Gone
3:28 $0.99
2. Love Stranger Than This
4:49 $0.99
3. The Other Side
3:44 $0.99
4. Wicked Boy
6:57 $0.99
5. John Hope
4:22 $0.99
6. A Cain Light
5:34 $0.99
7. People Get Lost
4:04 $0.99
8. We Are David
3:30 $0.99
9. Low Life
6:02 $0.99
Downloads are available as MP3-320 files.


Album Notes
Salter Cane deals in "tales of whiskey-soaked madness, bloodied hands and long dark nights of the soul". Variously described as melancountria, gothic country and "part swoonsome, part demonic country-noir", the UK-based band falls somewhere between Nick Cave and Leonard Cohen, or Joy Division and Johnny Cash.

They've brought their brooding sound to numerous live audiences, opening for such acts as Giant Sand, My Morning Jacket, The Sadies, Menlo Park, John Parish, The Black Keys and Johnny Dowd, and headlining shows in Brighton and elsewhere in the UK.

Following a series of EPs, the eponymous "Salter Cane" is their first full-length album.

"Salter Cane, the album, is a country-noir treat that captures the band's fascination with country rhythms and emotional distress. It would make a perfect soundtrack to the spaghetti western that Ingmar Bergman never made." – Shaun Whitehouse, Brighton promoters "The Gilded Palace of Sin"

"Their malevolent country fracas is as masterful as it is brooding, with steel strings and unusual music-making devices working up to a fit of wanton reckless genius." – Jim Merret, new-noise.net

“Salter Cane...had the crowd by the throat with the kind of haunting slide guitar sounds and vocals that penetrate the mean and soulful receptors of the brain. Follow this act down the dusty and lonesome road that is country noir if you can. It'll be a journey worth taking.” - Erin Prior, BBC

“Long Gone sounds like Nick Cave back from the sessions for the Johnny Cash album, inspired. Injecting the mildly poisonous, mildly hallucinogenic venom of a Texan snake into his band, he races them along a dark country-billy trail while he intones like a preacher at a funeral” - Jimmy Possession, "Careless Talk Costs Lives" magazine

"Not available for children’s parties." – "The Brighton Source" magazine



to write a review

Tom Dooley

I saw this band live at the End of the Road Festival and thought they were one of the best acts there. The album nearly captures the full passion of thier live performance and the intensity of the songs and lyrics still burns through. More interestingly is that there is not one even slightly mediocre song on the whole album, which is unheard of these days. I look foreward to hearing a loyt more from them.

Alejandro Carrasco

Intense, dark, sad, dusty western stuff...very nice!.


colourfully warped tales of death and lust.....
High on the Yorkshire moors three travellers took shelter from the storm in a run down inn. To while away the hours the three- Johnny Cash, Ian Curtis and Emily Bronte- decided to form a band- and so Salter Cane was born. Well, not really, but the scene does go some way to summing up this excellent band’s aesthetic. Four piece Salter Cane are purveyors of intense, driving, somewhat gothic take on roots rock. Any fans of 16 Horsepower, The Gun Club or The Men They Couldn’t Hang will immediately feel at home with this, their debut CD.
The band’s sound is predominantly acoustic- being based round singer, Chris Askew’s, muscular rhythm guitar and Jeremy Keith’s bouzouki backed with Jessica Spengler on bass and Jamie Freeman’s drumming making rock solid, slightly rockabilly orientated, rhythm section. Chris’ vocals are a huge, booming baritone- shot through with a distinctively dark, Northern English character to both his delivery and lyrics. There is a lurid, Wuthering Heights romanticism running through the nine tracks on the disc- an array of ghost stories, twisted love songs and murder ballads.
The writing and production is very strong throughout- numbers ranging from the acoustic intimacy of ‘The Other Side’ to a couple of really anthemic number such as ‘Cain’s Light’ or the ‘John Hope’- a pair of colourfully warped tales of death and lust. Gothic roots rock of the highest order, slightly anachronistic, but enormously enjoyable.
(originally writen for Rock & Reel Magazine)