This is MacIntyre’s fifth album, and the second released under his own label. ISLAND was recorded on the Island of Mull, and includes contributions from King Creosote, the Mendelssohn On Mull festival string players, and local musicians including members of his own family. MacIntyer’s aim was to inject a community feel to the album, even enlisting the Tobermory Arts Centre (where the recording was made) manager to play on it.

“I had to come home to make this, I realise that now… I put a notice in the local Co-op to invite fisherman, plumbers, pupils, teachers and whoever in the local community wanted to come and sing choir and foot-stomp on ‘Ned’s Song (Brother)’, the album’s closer… I’ve never been laid so bare as a songwriter.”

The room in which MacIntyre recorded ISLAND was actually his old class room which created an atmosphere of “wooden floorboards and remnants of pupils, teachers and ghosts-past.” MacItyre explained, “I remember where the blackboard used to be, so I sung in that direction, and the mixing desk is located where the old headmaster’s room was.”

This album is my introduction to MacIntyre, following close on the heels of another British singer/songwriter’s (debut) album I have just reviewed. So I’m tempted to make direct comparisons between the two, however, acknowledging that it’s rather unfair I’ll make just one observation. MacIntyre has history; the assurance and confidence shows.

Opening track ‘The Edge Of Nearly’ immediately sounds like it’s in familiar folk pop territory and trundles along pleasantly, with the odd multi-layered vocal darting in and out. On the rare occasion MacIntyr’e voice changes to a higher key as he explains why “I can’t make it here…” Then around four minutes in more instruments appear and the song reaches a wonderful crescendo of sound that takes the song to quite another, more epic place. The rather sad, regretful refrain of “I can’t make it here, I can’t make it here” returns to quietly end the song.  ‘The Long Road To Me’ moves along at a more rapid pace and creates a more immediate impact with its lovely string accompaniment and angelic backing vocals.

‘Cape Wrath’ grabs attention with a solidly plucked Mariachi style guitar intro to MacIntyre’s lower register and darker vocal. It fairly rattles along with a few adventurous twists and turns to keep the pot boiling. Love those guitar passages… Sweet, sad contemplation is the highlight of ‘Breathe.’ The vocal is more expressive, the song’s thoughtful vibe is helped by subtle melody, melancholy strings, and beautifully judged production. ‘Out Stealing Horses’ sees King Creosote opening vocal duties to wonderful effect on this moving slice of alt country sadness.

It takes a couple of listens to properly appreciate this album; when songs like the gently swaying ‘Stay Something’, the emotional storytelling of ‘Samuel Dempster R.I.P.’ (about the artist’s grandfather who died in WW1, before his grandson was born), and the more assertive guitar vibe and vocal sincerity of ‘I Can’t Love You’ really hit home runs.

The album finishes on another highlight. ‘Ned’s Song (Brother)’ opens with the sounds of the crowd MacItyre has invited along to particpate in the song’s performance. The soulful country pop, homespun vibe includes lovely guitar passages and vocal harmonies courtesy of the island’s inhabitants. Then the final piano notes, solo and backing vocals come together to create the most epic ending to an excellent album. MacIntyre has achieved his declared objective with this recording, and in the process created one I can strongly recommend.

4/5