Ledfoot‘s album release with Norwegian metal legend Ronni Le Tekrø from last year, A Death Divine, was one of those real rarities – an all-star collaboration that worked on every conceivable level – so I jumped at the chance of reviewing the American singer-songwriter’s latest solo album, Black Valley.

Shorn of Le Tekrø’s sonic backdrops, Ledfoot’s compositions on Black Valley stand or fall on their own ability to paint a picture (usually grim, but not always), taking the listener to a world of noir musings and dark intent. And you’d have to say that our hero hits the bullseye every time over the course of the ten songs featured here. Each song is a monochromatic musing on the foibles and frailties of the human condition, with Tim Scott McConnell (Ledfoot’s human alter-ego, if you see what I mean) taking centre stage, using his cracked growl to maximum effect on early highlight Take Away The Hurt.

Arrangements are generally sparse, with McConnell’s vocals and superior slide guitar technique carrying the burden over the majority of the record. It’s interesting to note, however, that even when a simple drum machine pattern is added to the mix, on the album’s standout cut Falling Down, for instance, an extra urgency and sense of dynamic is added to the song, seemingly doubling the song’s attractiveness to listeners in an instant.

That’s probably just personal taste on my part, however; for the truth remains that Ledfoot really doesn’t need studio embellishment to get his points across. A lone human voice and an acoustic guitar do just fine on that score, and if you’re not moved by the man’s sombre delivery of tunes like Angel Down, then there’s quite possibly no hope for you…

An album for those dark nights of the soul when only introspection and the bottle are your real friends, Black Valley is a killer record in every respect. Hats off again, Mister Ledfoot…

Black Valley is out now.