Our first physical release, available now on CD and also on download.
A couple of great reviews that we’re really chuffed about:
Maverick Magazine: ****
The work of a Renaissance master with his paintbrushes replaced by a guitar.
Based in Edinburgh and releasing his second solo album, it is here that Chris is really carving himself a fine career. The plaudits have come thick and fast, such as a glowing review in the Sunday Times, and here no criticism will be heading towards this albums direction as it really isn’t necessary.
Consisting of twelve songs with all but one written by Chris himself, the best song of these dozen tracks has to be The Beatles. A sound which could have been created by talented teenagers in their parents basement away from prying ears just so not to steal their authentically awesome sound, this is Rockabilly music at its’ best circa 1962 and what a sound it is. The first prize has already been awarded, but the silver medal of this album must go to Running song. Telling of a story of despair that I’m sure many would relate to, the tale sung about so passionately adds vitality to the spirit of a song which paints a somewhat morbid story but played in such an upbeat sprit. The bronze medal is awarded to Beggar to fall. With its opening efforts on piano instantly drawing you in, this appealing aspect seems to spread itself to the rest of the instrumentations and certainly to Chris’s vocals as they more than hold themselves when up against the fine, aforementioned piano efforts.
With this being just Chris’s second album, here is to him releasing a third because what a sound that album will possess. RH
Is This Music?: ****
There’s soulfulness at the heart of this album that immediately makes one warm to it. While many singer-songwriters albums tend to drown you in melodrama, melancholy and sincerity, there is a wry honesty here that makes you smile. The lyrics are both humble and knowing as they strive to tell you something you didn’t already know about life. Summer may well have long gone but its’ sounds are here for all to see in Bradley’s plangent melodies and straightforward, unsentimental lyrics. Each song gels beautifully with its’ discmates, creating a fully-rounded and very satisfying listen. This is an entire album that takes its’ time to burn slowly and surely onto your synapses. Its’ ripe and juicy melodies making you want to sink your teeth into it. At The Outpost is a little stodgy in places, but such minor inadequacies can be overlooked by the quality on display here. ****
Rock ‘n’ Reel:
Aberfeldy native, Edinburgh-based singer-songwriter Chris Bradley gets you from the moment the arresting rhythm of ‘The Man I Love’ kicks in on this, his follow-up to 2008’s Voices.
And there’s better yet ahead on this hugely enjoyable set of lean acoustic arrangements anchored by an acute pop sensibility and Bradley’s warm delivery – ‘Beggar To Fall’, ‘Golden Girl’, ‘Goddess Of Love’ and ‘Running Song’ (a nod in the direction of Steely Dan) fall around you like confetti. Even the Status Quo-like boogie riff on ‘The Beatles’ works!
And there’s an endearing DIY approach to the album, with Bradley playing everything (except for a guitar solo by Riley Briggs) and producing.
A Master’s graduate in composition from Edinburgh University, he merits a first for At The Outpost’s consummate thesis on the craft.
[sic] magazine: 7/10
Chris Bradley is the real name of the Marvel comics hero-turned-villain Bolt, a character who commanded electrokinesis and suffered from devastating headaches. Happily, this Chris Bradley does not inspire the very same. This Chris Bradley is an Edinburgh-based, eclectic singer-songwriter who projects confidence in place of lightning, variety instead of forcefields. Disappointed? Don’t be.
Bradley roams successfully from Neil Young sepia tones to Nick Drake laments, from piano-led storytelling that occasionally recalls James Taylor to power-chord pop. Utilising his day job compositional skills, Bradley’s songs are lush and narrative-based. Furthermore, he has friends in the right places having become an established part of Aberfeldy‘s chamber-pop bosom since 2007. Riley Briggs naturally therefore repays a few favours and cameos on guitar solo throughout the irrepressible midpoint “The Beatles”.
Peculiarly the easygoing lead single “Waltzing” places late on the tracklisting but leaves an impression, just as the folkish strains of the opener “The Man I Love” does. It’s not the gay anthem one might expect, and is instead a powerful paean to Bradley’s late father that comes back-to-back with “Beggar To Fall”, a decidedly more up-tempo affair. In turn, it sets the scene for the country-fried, toe-tapping sunshine provided by “Golden Girl”, a track that hints at The Allman Brothers catalogue while suggesting something The Cave Singers might produce after several years of AA meetings. Later still, “Running Song” has a dose of the Elton Johns to it, bobbing along happily in piano-pop country.
Listening to At The Outpost in full is repaid with a strong finale. “Not What It Was” is highly assured stuff, built on solid repeats and comes filled out by electric and acoustic guitar patterning before breaking into incongruous yet welcome synth spirals. The sparse, guitarless stomp of “Your Close Friend” is a particular highpoint taking in a boisterous rhythm borrowed from the Blues as it goes.
At The Outpost suggests either a sense of wilful ostracism in its creator, or one who comfortably calls the road his home. Whichever, Chris Bradley seems comfortable on this release. It’s emotional but not overly revealing, and it appears that when he drops his guard further it will more than pay to be around.
At The Outpost is released March 29th 2010 on 17 Seconds Records and will be followed by the re-issue of Bradley’s debut album Voices.