Here we come
Strike the Colours
To strike the colours at sea is to accept defeat, to surrender, to give up. As far as nom de guerre’s go, Reindeer Section alum Jenny Reeve has picked one laden with dramatic possibilities and inherent poeticism.Read More
"Seven Roads", the much-anticipated second album from Strike The Colours was released on September 28th by Deadlight Records. The follow-up to 2007's highly praised 'The Face That Sunk a Thousand Ships’, 'Seven Roads' - recorded in Chem 19 by Paul Savage - was supported by a UK tour, alongside co-headliners Zoey Van Goey.
While the nautically-themed first album - its writing, recording and self-release - and the early fluidity of Reeve's band (which still variously includes core players and collaborators) represented something of a voyage for its creator (previously known for her work with the likes of Malcolm Middleton, Arab Strap, The Reindeer Section, Idlewild and own band Eva), 'Seven Roads' is itself about journeys.
For the traveller in Reeve, a veteran of UK, US and European touring circuits, who also has close family in Australia, the material, penned in early 2008, quickly became a reflection on roads less and oft-travelled, and of losing and finding people along the way. "The last album had its own personal theme, but was created in bursts of writing and recording," says Reeve. "This process was more succinct and we recorded it during one period of time. Lyrically and stylistically, it feels like there is real continuity and clarity with 'Seven Roads'."
'We' could refer to both Reeve's band, which includes the various instrumental talents of friends and long-time creative cohorts Davey MacAulay (who's been co-writing and demo-ing tracks with Reeve since his days as Terra Diablo's guitarist/vocalist), Gareth Russell (Idlewild), Stevie Jones (El Hombre Trajeado, Malcolm Middleton, Alisdair Roberts) and Johnny Scott (Take A Worm For A Walk Week, Emma Pollock), and the multiple personalities innate to an independent, self-releasing artist.
The many hats Reeve dons are inspired by the grassroots ethos of Scottish collectives and musicians like Fence. "I'm happy to take the time to build a body of work and crucial industry knowledge," she says. "Releasing your own records is a good way of doing this. It means you're never standing still."
Critical response to the last album (with support from BBC, XFM, The Scotsman, Herald, Evening Times, Daily record, The List, The Metro, The Skinny) not withstanding, Reeve's reputation has also been inadvertently buoyed by her long-term collaboration with Malcolm Middleton. Appearing on his last five recordings (including A Brighter Beat, Sleight of Heart and Waxing Gibbous) and tours has engendered a mutual creative influence - and a full diary. STC, however, remains a priority and in between joining Middleton on his various UK and European tours, the band (in acoustic and full form) has lately appeared at The Hague's Crossing Border Festival, Music Like a Vitamin, Middleton's 'Burst Noel' show, Homegame Festival and a Glasgow support with Marisa Nadler.