Aaron Wright is currently arguably one of Scotland’s finest young singer/songwriters and that talent hasn’t gone unnoticed, hence why the likes of Norman Blake (Teenage Fanclub), Tracyanne Campbell, Nigel Baillie (both Camera Obscura) and Stevie Jackson, Mick Cooke (both Belle and Sebastian) have provided their own musical skills on this album, along with a more influential role for Teenage Fanclub’s Francis MacDonald as both shared producer and drummer. It is, however, unfair on Aaron Wright and fellow band members Will Harris (Keyboard, Piano), Alan Ross (Harmonica) and Chris Agnew (Bass) to simply see this album as the good and the great of Scottish pop music lending a hand. Aaron has already proved; through his solo acoustic sets; that he is a great musician and with everything on this album written by Aaron it is an absolute joy to hear the added depth of feeling that a band can provide.

If there is a signature to Aaron Wright’s sound then it can be found on opening track I’ll be Fine. Aaron has a wistful vocal style, but it is the strummed acoustic guitar and piano accompaniment that creates such a smooth introduction. The choral notes of "I’ll be fine" are almost falsetto in style, with the emergence of the harmonica and additional strings giving a nice malty edge.

Trampoline almost steals a piano riff from Queen’s Crazy Little Thing Called Love and at moments leers into a country styled piece with the middle section guitar solo, an underlying ukulele rhythm and splashes of harmonica. Say You Love Me Still is slower and drenched with a smoky atmosphere, with Aaron vocal style picking itself in and out at the upper octave range with the snatch of drifting melodies of accordion.

There is something to be celebrated in the cultural differences of language, from the Arctic Monkeys' Sheffield drenched tones of Mardy Bum to now the almost chant like Scottish mantra Go On Yerself. To be fair the review of Go On Yerself is taken from my ukmusicreview of the Behold a Pale Horse EP, but it is as relevant now as it was then:-

Go On Yerself is a great vehicle for Aaron’s vocals, accompanied by a running acoustic guitar riff that is both minimal and eventually quite haunting. The drums and bass eventually pick up this pace and riff before leading us into the chorus of "Go on Yerself", which is so happily pop that it has the word enjoyment plastered all the way through it. The horns, after the chorus, completely move the track away from its haunting opening and it is hard not to want to sing along with Aaron and almost dares comparison to the critically acclaimed, but now sadly defunct Mull Historical Society (before anyone writes in, yes Colin MacIntyre is still producing music under his own name).

The sound of Middle Ground is based on a brushed drum pattern and piano before building up to strings coming in; it is as expansive as Aaron Wright gets, with punchy accentuation of words until the phrase "Middle Ground" is breathed across the piece. As a counterpoint to Middle Ground, you only need to listen to Amateur Sleuth. The acoustic guitar and Aaron’s solo vocals remind you where he really started out, just himself, his guitar and the words he had penned. The piano does join in as the piece progresses, although it is almost not required, as there is enough with just Aaron and his guitar to enjoy here.

Of course there is still the delightfully jaunty Origami Me, which has lost none of its shine, as I mentioned back in my ukmusicreview piece:-

Origami Me opens up with a harmonica moment that is reminiscent of a 1980s television series, before a jaunty piano replaces that and allows Aaron’s vocals to come through, accompanied by the click of fingers. We are also treated to a few choice French phrases that do not come across as pretentious; in fact Aaron retorts "Fuck you all I’ll taste just like an Asbo". It is the jaunty piano that carried this track through, although the harmonica moment is eventually repeated and marks the final moments of this track.

There’s something warming and effervescently catchy about Origami Me, despite the fact that its lyrics are anything but cheerful!

This leads nicely onto Teardrop Sunday Clown, which is the album’s most melancholy moment, both lyrically and with the off pitched acoustic guitar notes. Thankfully the album does not end on this track, instead Kitchen Floor with its bass and piano riffed intro is the last track, a lovely up beat and bouncy tempo style to end the album with.

Overall there is something about Aaron’s vocal style, the lyrics and the musical content, that’s warm, embracing and hugely enjoyable. If the currently more famous Scottish artists have found time to contribute to this album, it seems only fair for as many people as possible to reciprocate by listening to it.

Reviewed by Jimbo Walsh

Aaron Wright’s self titled debut album is available now from Amazon.