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Liam McKahey and the Bodies / Press

“Lonely Road is a collection of ten songs from the darker side of alt.country – think Burt Bacharach meets Nick Cave. McKahey's strong, distinct voice is particularly well showcased on the second track Unheeded Tidings which chronicles the emotional downfall of a young man and is interspersed with some great fiddle playing by Joe Peet. Overall Lonely Road is a good album and should appeal to anyone who is a fan of Nick Cave, Tom Waits, Calexico or Puerto Muerto.”

ER - Maverick Magazine

“Site features an interview with Liam”

“See site for full review - Inscription and Clyde slow the mood down, with the former featuring some beautiful guitar work from Brown and one of those effortless Scott Walker style vocals that McKahey seems to roll off in his sleep. Lovers & Fools is the biggest curio on the album, its trumpet solos and twangy guitars indicating a close affinity with the Lee Hazlewood songbook. It's a trick Tindersticks have been getting away with for years and McKahey sounds utterly at ease in the same territory. Great to have McKahey back and Lonely Road is an interesting departure for a man who could so easily have continued trading in the same old sound. This is not Cousteau Mk. II and Lonely Road is so much better because of that fact”

“See web site for full review: By the time he's come close to pulling off a Bond theme with 'Lovers & Fools', it's obvious Liam McKahey has all his suave'n'stylish bases covered. 'Lonely Road”s title may suggest a veering off the beaten track, but while there's murder, mystery and suspense in these songs, he's still very much walking the sophisticated, croonsome path we know and love him for. Let's hope moving to sunnier climes won't blunt his passion for the dark and deadly side of life.”

“I found myself singing the opening title track and a further listen was almost epiphanal as the beauty of Lonely Road languorously revealed itself. Blessed with the sonorous timbre in his voice evocative of Scott Walker or Nick Cave, McKahey, formerly of Cousteau, has assembled a collection of elegiac ballads that define longing, stoicism and hurt but which sound so timeless that on checking the sleeve for the ‘trad arr’s, I was surprised to find that all ten songs are McKahey originals. The glorious centrepiece of the album is Blackwater Pass, the brooding, haunting qualities of which would make it an ideal theme for any imaginary western, but even choosing a favourite does a disservice to an album with no obvious weakness. An unexpected delight of Lonely Road is the instrumentation.”

David Innes - Rock N Reel

“Formerly lead singer with the much underrated Cousteau, for his solo debut, the sonorous baritone voiced McKahey hasn’t much deviated from his former band’s blueprint. So, that’ll be dreamily, dark but melodic melancholic pop balladry conjuring comparisons to Scott Walker, Tindersticks, Nick Cave and Jackie Leven, here coating the basic guitar, bass and drums with mandolin, trumpet and violin. If any of the musical reference points touch your spirit, then the gypsy fiddle spooked slow burn flamenco of Unheeded Tidings, Clyde with its echoes of Scott 2, the surf guitar noir Lovers & Fools, piano led funeral waltzing John Henry’s Eve and the Eastern European folk and funereal lament flavours of a slow march tempo Blackwater Pass should have you marking this as essential listening.”

“Liam McKahey has moved from London to Australia; this is his goodbye to the UK. There’s atmosphere and drive on Lonely Road and Unheeded Tidings where violins buzz like a lazy swarm of flies feasting on a fat carcass in the Outback. There are still the resemblances to Scot Walker and when he’s in more restrained mood like Inscription the similarities are stronger. Lovers & Fools adds in some flourishes of trumpets to go with the Morriconesque backing to give a sun-baked spaghetti western feel. Similarly cinematic are the mournful Blackwater Pass There’s a lightness and a sense of fun and drama that was mostly absent from Cousteau where they garnered a lot of Tindersticks comparisons; you can still draw that parallel though Scot Walker has to be the closest reference you can find. What McKahey seems to have cracked is not worrying about sounding like Walker.”