Singer songwriter Cam Fraser has had a long career on the fringes of stardom. The cult musician first became known to some as a member of The Cataran, a band whose three albums gained the band a following in the 80s, and he latterly ventured further into the realms of jangly indie as a member of Borrowed Books, whose 2020 album presented a timeless sound where a very 90s feel was underscored with occasional folk-rock rhythms, taking influence from Lou Barlow’s Folk Implosion. Under the name Boulder Fields, Cam explores the avenues of Americana – albeit from a Scottish perspective – going deeper into the folky, but without losing his roots, and although 2024’s ‘With All The Other Ghosts’ sometimes values atmosphere over immediacy, his sense of melody and lyricism often comes through in massive waves.

The Americana slant on the Boulder Fields sound makes itself immediately obvious on the brilliant ‘Commemoritivo’, a number that weaves an accented voice into an arrangement where hard strummed acoustic guitars hit upon a simple rhythm. Underscored by lightly approached, almost shuffling drums, and joined by an Edwyn Collins-ish vocal, the simple melody sounds surprisingly rich, giving a great first impression. A rough harmony on the chorus adds further to a very retro sound, carrying hints of Calexico and bits of Bill Janovitz’s ‘Lonesome Billy’, setting something in place that fans of the style can really get behind. Despite the vocal being rather prominent, there’s still a feeling that the music itself will make an impression over time, but its slow burning quality isn’t necessarily a bad thing.

An even stronger number, ‘Take Off’ mixes acoustic guitars and basses with a folky rhythm, creating something simple, but perfect for the job in hand. As the verse gains momentum, Cam’s natural voice begins to shine, but its when hitting a repetitious chorus hook – augmented by male/female harmonies – that this number really springs to life. There are times when the outcome sounds like something from Conor Oberst’s pile of demos, but there are also moments here where Boulder Fields appears to be channelling something much older. The joy that comes through the main melody provides an instant uplift, and no matter where that melody goes, the live sounding bass riffs hold everything together with ease. With a bright sounding acoustic solo found along the way – again, sharing an unfussy melody – this becomes a great example of Boulder Fields’ natural folky flair. Despite slowing down, ‘Horse In A Sling’ also showcases the strong marriage between acoustic strums and an anchoring bass groove. The end result shows off a darker strain of Americana, occasionally sounding like something Fred Abong might share – should he venture into similar musical climes – but everything remains very accessible. Cam’s vocals adopt an aching quality as he finds himself waist deep in a narrative concerning the need to hold on and look for the light at the end of the metaphorical tunnel. There’s a general feeling of unease here, but for those really not interested in storytelling, the mid tempo arrangement still offers some great music. There’s a brilliant finger picked melody darting between each of the lyrical stanzas, and occasionally, a rising melody within the vocal that would also suit the likes of Tindersticks and Nick Cave, despite sounding different, stylistically speaking.

The acoustic work takes on a heavier mood during ‘Like A Knife’, a busy waltz that’s home to a busier vocal, and the live in the studio approach gives Boulder Fields even more of a spark. Amid a tune that occasionally sounds like one of Amigo The Devil’s more sedate recordings, there’s a vocal that doesn’t care if it wobbles gives the lyric even more of a human touch. All of the material here is great, but the album’s highlight is supplied by ‘Marieke’, a track that utilises the drum shuffles of ‘Commemoritivo’ in a much smarter way. The general mood shares the same love for Americana, but the blend of busy acoustic guitars and live sounding piano offers a deeper insight into the Boulder Fields sound, and when Fraser drops finger picked melodies between the broader rhythmic strokes, it shows off the intricacies within his work even when the final results never seem too fussy on a surface level.

Elsewhere, ‘Measures’ provides a really positive and upbeat glimpse into the musical world that’s been created within the Boulder Fields world, with an almost jangly rhythm set against a light drum. It’s very much in keeping with the heart of this collection of songs, but there’s also something here that leans lightly upon the rootsy pop/rock sounds of bands like Toad The Wet Sprocket. Fraser’s natural vocal style ensures that the track never truly sounds like anyone other than Boulder Fields, of course, and he’s able to take any influence and make the music his own. The song’s chorus, delivering a very upbeat melody, gives an already enjoyable track a very positive vibe. On it’s own, it works brilliantly, but played as part of the whole album, its still a strong offering, despite standing out, perhaps, just a little too much. A similar, heavily strummed core drives ‘Strings’, another track where the acoustic guitar work and bass come together perfectly. A banjo sound lurking in the back allows the layered arrangement to lean even farther into a world of Americana that’s a million miles away from a rainy Scotland, but again, Cam’s approach feels very authentic. Unfortunately, some of his vocals on this number are rather rough – he captures the same kind of “one take rawness” beloved by Neil Young, but in some ways, this number deserved something with a little more polish. Nevertheless, there’s plenty to enjoy here: crane your ears around the louder elements and you’ll discover a couple of absolutely pin-sharp bass fills, and a rather pointed chorus offers one of the album’s more immediate hooks.

Opting for purely acoustic, ‘Can’t Even Say’ takes a more syrupy turn, but there’s still a strong rootsy feel as the vocals croon against a country-folk melody that, again, could be derived from an old Calexico tune, giving Fraser the perfect vehicle for a more sedate melody and lyric, and in closing, ‘Wool Pulled Down’ showcases Cam in full solo mode. On this final number, he cries softly against a finger picked acoustic guitar, going deeper into the folky strains that have provided the core of the material elsewhere. Despite being a purely solo recording with a live sound, there’s a huge warmth here. Fraser applies a great tone to his fatter, strummed notes, and by hitting the strings at the beginning of the chorus sections in a percussive manner, he also makes the one man recording sound so much grander. It’s quite simple, but gives the record the perfect finish.

With eleven thoughtful tracks that are very much designed to work their magic somewhat slowly, ‘With All The Other Ghosts’ is a mature offering. It’s often introspective, but never self-indulgent. Fraser’s songwriting has a timeless style, and his playing – whether alone or with others – is pretty much flawless. For those looking for a slightly different slant on a roots/folk/Americana sound, this a record that promises a lot of interest even if it doesn’t always offer that “quick hit”.

July 2024