Categories
Album/EP Reviews Folk Music Gentle Nature Folk Scots Vitality

Jenny Sturgeon – The Living Mountain (review)

An album indistinguishable from the nature it is set in, Sturgeon’s expertise ensures a multi-layered, emotional linchpin of folk

Now even deeper into the cold of Winter, we come to ponder Jenny Sturgeon’s latest work “The Living Mountain” originally released on 16 October 2020. Sturgeon’s first album “From the Skein” was an enjoyable and accomplished work exploring myth, humanity and nature which seriously tickled our fancy back in 2016. Now she is back from the heat of that debut, not so much with a left-turn but rather a wonderful refocus of energies. Jenny Sturgeon’s second solo album “The Living Mountain” is a project that somehow sees both the grand scheme of the living world on it’s canvas as well as being a focused lens examining nature’s fundamental parts.

The CD is methodical in it’s examination of themes in such a way that sets itself apart from the more human myth-centred works of her first album. The reason for this is that it is highly inspired by nature writer Nan Sheperd’s book “The Living Mountain”.  Like a matroyshka doll, the album moves from grand vistas of “the plateau” to the more intricate workings of nature such as “birds, animals, insects” before venturing inward to “man” and later “being”, each piece seemingly fitting in another and becoming grander. Sturgeon walks the chapter structure of the written form and brings her interpretations of each to the CD. Growing up in the Cairngorms and her own academic background (PhD in seabird ecology) mean that there is a perfect marriage of the emotional and intellectual bridge that gives the album a legitimacy of its own as an informed perspective. 

We start this journey wide and far with Sturgeon’s first track “The Plateau”. The instrumentation is a sweeping, embracing gale that has the characteristic of the natural world; Sturgeon’s vocals are cool to the touch and the lyrics are poetic. Rising like water vapour it then drops gently like a spinning, winnowing feather from it’s solitary downy nest as it transitions to the second track. Here the album commits confidently evoking nature metaphors with you “taken downstream.. Propelling forward” both in the physical and mental. The track feels like snapshots of a raw, primal comfort as Sturgeon’s voice calls from the warming harmonium and blankets the listener in a peaceful embrace that reaches outwards.

Throughout the album the percussion, sounds of nature and vocals embrace like grass snakes in the long lawn. For ourselves it stirs a memory of the excellent audio design and layering of the natural world in Lisa Knapp’s “Till April is Dead: A Garland of May”, but to that album’s light and renewal, this is an Autumn gathering of firewood as a dark season counterpoint which excites the senses.  “Frost and Snow” is a good indicator of this with it’s sounds of ice bobbing in water and ice cracking in sheets. Thoroughly cool, Knapp’s voice is a reverberating polar vortex moving through the land and searing the tree branches. Incredibly important, Surgeon’s work whispers tales from our natural selves, seemingly from within the chill of our bones themselves.

The album does take some detours from these broad characterisations we attribute too. Brushes of heat delightfully touch the face in “Air and Light”, for example, a guitar led joy that feels like the sun reaching around your bedroom door awakening you to the day ahead. “The Plants” is another bright number with an earthy, spiritual vibe that is a shared, positive energy as the song proclaims “we are of the sun”. You can picture the sprouting green shoots clumped together, reaching upwards and being at one with the solar rays. “The Senses” is a track which feels like a bow that has tied up all the joys of walking, climbing and being with nature that Sturgeon has touched on on the album and presented it as that thoughtful, unexpected gift that you are given from an old friend.

“The Living Mountain” is an album that is steeped in examining the bonds of humanity and nature through Sturgeon’s own joyful experience making this a potent work of psycho-geography. The Highlands are clearly a cherished place in the singer’s heart, and through the immediacy of this album, we can share in this. Rarely do we come across an album that is so wind-bitingly sensory and quietly grand about the natural world. Credit must be given all round for the additional musicians who have performed as if emerging from the trees (Grant Anderson, Andy Bell, Mairi Campell, Su-a Lee, Jez Riley French), the field recordings that elevate this above a safer more conventional nature folk album (Magnus Robb & The Sound Approach) and Andy Bell (mixer/producer) who makes your safe warm indoors sound very much like the wild, beautiful majesty of the outdoors.

A great sensory experience, a peaceful living and breathing work this is an album whose a fire crackles and pops against the dark wonderful night and it is definitely worth your attention.

If you are interested in hearing more about this labour of love, you can head to buy the album here. Sturgeon has also delved deeper and involved several individuals from all different fields in the making of this project for “The Living Mountain Conversations”. You can check that out here too.

Categories
Album/EP Reviews Folk Music Gentle Nature Folk Political Vitality World

Lizabett Russo- “While I Sit and Watch This Tree” (album review)

Russo’s album is a brighter, more focused affair that lets the positive rays of growth bring more optimism to her delightfully individual music.

To Be Released: Late November 2020

Gathering her ideas from the characterful stream of her mind and hewing a sound from the knotty avant-garde folk tree, Lizabett Russo continues a work very much her own with more integration of her core ideas around nature, personal anxiety and politics. With “While I Sit and Watch This Tree” it also feels that Russo is letting the background sing as much as her own interesting, searching voice.

“While I Sit and Watch This Tree” sees Russo (classical guitar, charango) joined by the musicianship of Graeme Stephen (electric guitar, loops/effects, piano), Oene van Geel (cello, viola, percussion), Udo Dermadt (various percussion, clay pot). Interestingly, the album itself is being released by not-for-proft charity, “Last Night from Glasgow” which strives to provide artists, “fair remuneration for their work” and is funded by patrons. They have some enticing options for supporters and if this piques the reader’s interest, is well worth a look at, (https://www.lastnightfromglasgow.com/).

Lizabett Russo is a Romanian-born (now Scotland-settled) artist with wide-ranging vocals that can swing around a point like a pencil in a metal compass, pleasantly drawing patterns only she can see. It has always seemed to us that Russo’s signature style could be how she musically captures the “meeting of her thoughts” within a song. The joy in this is when she begins with one idea there is often no certainty about where this will end up in terms of style, beat and genre. When these shifts happen her ideas clash in a great auditory drama and the song becomes something else altogether; jazz moves to folk, to expansive poetry and far beyond. Therefore, it is rare that Russo’s music is a steady-paced jog in the countryside, it is more akin to orienteering upon a craggy rock face with various dashing and walking speeds, the wonder of finding the puzzle, and wading through water while the sun bakes your muddy jersey.

“While I Sit and Watch This Tree” continues this stylistic motif in parts (and Russo’s great voice endures) but this time there feels more like a greater continuity to the tracks and it’s cognitive, political and natural folk music is layered around a vision which is more optimistic, and probably less mystifying than her previous works. What do we feel about the songs?

“Two Hands Together” is the musical fusion of a union rally call stretched across the drums of a shamanistic greeting. The song asks for the listener to  “get up and fight, get up and see what is there to see beyond the horizon” as it calls the “brother” and “sister” to action. The hands clap and the spirit of rebellion splashes up onto the jungle raft as it moves along. It is a song about the destruction of the rainforest in Ecuadar,and in character it feels much like the protest is coming from “within”the trees and the cultures of the area. Atmospheric and spiritual, it appeals to the senses with it’s peaceful yet pleading message.  

The track “I Was Young When I Left Home”, is as nostalgic and delicately skipping a track as you might find from the young artist. It’s a moody assortment of piano and jingly percussion which begins like the building bustle of an Alpaca textile stall in the morning. As it starts the track’s colours glow and Russo’s ideas firmly greet each other in a busy kind of joy. By the second half, it is a track that has ascended like red vapour from a heavenly candle, flickering for a moment in the mind. It seems to play like a contrast between her life now and from her past. Russo paints not an unhappy picture of her youth, but with the contrasting styles of the track you wonder if she considers her current creative life akin to spiritual enlightenment, as she has noted previously that music is not considered a profession in Romania and more a “hobby”. Whatever it’s intention, the song presents two distinct and interesting sides of Russo’s character.

“Depending” is a song like an anagogic spray of glitter and lights crackling in the heavy, damp air. It starts brimming with Russo’s echoing vocals portraying a contented inner voice with some solid, earthy strings backing this up. Much like Heraclitis’ famous wisdom, “No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” Russo explores virtue and time within one of her more simply structured songs on the disc. With a clear message and voice that sounds like it hovers over swarms of heady springtime bees. It is a nice entry among many.

Photograph by: Vicki Rose Evans. https://en-gb.facebook.com/VickiEvansPhotography/

Russo’s cover (her only one here) of “The Water is Wide” is also a welcome addition. Russo takes on a folkier track than usual and the results are a song of easy listening that sings lightly of transformation and joy. Voice and lyrics are still front and centre, but unlike other versions (such as Karla Bonoff’s) it has both a stronger world feel, and both instrumentation (particularly the charango) and composition are more wedded to the elements of Nu-Folk. Russo gives us two co-existing ideas; one is her future character singing with a care-free confidence of a dilettante as she looks back at her migration. The second is the content of the song which hints at past Russo’s worries about impending travel and starting a new life. It is a cheerful affair though and a worthwhile cover.

So with the latest offering from Lizabett Russo we get a sunny, idea-filled exploration of Russo’s own beliefs and history. Her music reminds of the art of Scott Maismithi with it’s sharp, bright colours showing the natural landscape like a musician’s heart and soul in bloom. Moreso, it shows that Russo has much more to say about her life as well as ways to say it.

As the fourth album of Russo’s catalogue, it is possibly the most joyfully introspective but also a perfect starting place for those new to her works so we recommend that you check it out.

For details of purchasing her album, have a look at Lizabett’s website here, https://lizabettrusso.bigcartel.com/

Here is a preview of the album on Youtube:

Russo’s live stream of her album launch is taking place on YouTube on 27th November, check it out here https://www.youtube.com/watch?v=ifPfprFRKKY

Categories
Album/EP Reviews British Debut European Folk Music Nature Folk Traditional

The Wilderness Yet – Debut Album Review

Their ears and hearts nested in the traditional, ‘The Wilderness Yet’ provide an album with many brilliant, emotional responses to nature.

Away from the bustle, in a secret garden within the leafy settlement of Sheffield, we get the glimpse of a band bringing their debut to the fore. 

“The Wilderness Yet” comprises of Rowan Piggott (fiddle), Phillippe Barnes (guitar/flute) and Rosie Hodgson (vocals), a trio of South Yorkshire folk artists entering the “wilderness” that is a folk world full of surprises and joys; they are accompanied on tracks by guest musicians Ewan Carson (bodhran), Charlie Piggott (button accordion) and Johnny Ringo (bodhran). The result is a swirling, strong entry into the genre that plays a hand of cards that will suit long time enthusiasts with it’s traditional leanings, but also excite by keeping some new songs up their sleeve.   

What goes a good way towards the atmosphere of the disc (that helps carry it along) is the artwork, which we have to start by praising. The artist Adam Oehlers (http://www.adamoehlersillustration.com/) brings together animal and tree in a beautiful, coppery unity. At this time of year in particular the golden hues of the leaves, the branches and grasses (with laws unto themselves) and the wondrous spectacle of the inside illustration are calling to the wild, calling to the intricate system of nature. When you pick up the disc, it is a sensory, auspicious start.

This scene setter leads into the light dance and explicit harkening to the season in the first track “The Beauties of Autumn”. Inspired by a walk outside Halsway Manor (definitely a semi-wild spectacle) in the early morning, the track feels like the crinkles around your wellies during an unexpected dry spell. Quietly celebratory it marks the beginning of the album with it’s positive, warm and fresh sound.

Speaking of warm beginnings, “In a fair country” is a sweet, fruity medley of blackcurrant and apple in a rich chutney that could be part of of an oaty breakfast. Sang traditionally and with a chirpy harmony, it is a good track that lends to your ears it’s familiarity in structure and character. We mention fruit as Hodgson’s voice reminds of gooseberries, a hint of sharpness that tingles the soggy tart pastry. It all works well and there is a good mingle with Piggott and Barnes’ who lay a deeper, essential mossy covering to the track. As a song which laments for the loss of trees it is close to our heart (particularly with the previous years’ battles around tree felling in the Steel City).

It is definitely an album which looks to the natural path. Queen and Country is a nice little ditty (and named pun) with its theme of pride, bees and the parallels with the commitment to the cause. Previously part of a collection from EFDSS about bees in 2018 (www.songhive.co.uk) this is very welcome here. A joyful song combining a humble self-appreciation and joy in one’s place (as the subject refers to themselves as a labourer), it is like a mug of tea as the Summer winds out, an understated comfort that is universal. 

We love the lower, heavier notes that precede the group’s cover of Bogle’s “Song of the Whale”, a song about the beguilement of fisherman at the sound of the humpback 200 years ago. Adding a dynamism and rumble to the entrance is a nice contrast to the lighter lyrics. Stripping out the prominence of the original’s guitar for a nautically-turned viola d’amore and flute is a good choice as it  brings more otherworldliness to the song. As a sailor you might think that the sound has come through the veil of the world itself.

Another fine song that errs towards the darker is “Of Men Who’ll Never Know”. Calling towards the darkening of the world there is a beautiful expected starkness and stillness to this Swedish Love Song.  Mournful and disarming, the bleak end of things comes and with the gentle rattle of the accompanying instruments. For an album with is mostly light and springy, it is an unexpected diversion which adds a grim ink to this chapter of the album (but is none the worse for it).

Artwork by Adam Oehlers http://www.adamoehlersillustration.com/

Overall, “The Wilderness Yet” is a fine album themed around nature and people’s experiences of it be it quiet joy, strange wonder, fearfulness or  a merry dance alongside. The a cappella numbers are stirring, the original tracks clever and the inclusion of Scandi music is a very good one. Together as a package of theme, music, song and art it is as one. Well mixed (Piggott) and mastered (Sam Proctor), the album finds the right places to shine it’s spotlight be it the vocals, the gentle tap of the bodhran or the bright fiddle. It is rooted quite nicely in the the traditional form and has some lovely original additions to it’s body, like a shapely orchid emerging from rainforest bark.

If you would like to purchase or find more information on the band, go to www.thewildernessyet.com and check out this video below.

Categories
Acoustic Album/EP Reviews Folk Music Gentle

Saskia – Are You Listening?” (Album Review)

An album that refreshes and surveys the ground covered up to now. Saskia continues to sculpt her clay of gentle-folk into a pleasing and healing treasure.”

Released July 31st 2020.

Our Pick: “Write me a Song” (Track 5)

From the brightest, warmest and sunniest part of folk music’s acoustic heart comes musician, Saskia Griffith Moore (or Saskia, for short) with her new album entitled “Are You Listening?”

Much of Saskia’s music and character does indeed seem to come from this place. From London to the West Country and back again, Saskia has transitioned from therapist to singer and throughout has shown to be a dedicated and uplifting artist whose social media often have some sunny rays to share around. We have been listening since Saskia’s debut “Gentle Heart” in 2016 where we summed up her work with the simple sentence, “It’s ‘gentle’ nature is a strength”. This is very much still the case as this most recent album is part one of a two disc release in association with the Susanne Marcus Collins Foundation Inc. and both share in their collaboration the values of optimism and inspiration. Saskia’s hard work is paying off.

As a kind of “best of”, this is a good and fitting catch-up point for those not previously following Saskia’s work. The disc is a series of songs that dance in the huge, shiny fog-lights that are her sweet acoustic guitar and warm, enveloping voice. It is positive to the extent that even when tracks approach the soul-searching mainstays and companions of acoustic guitar such as “a long life” and “possible regret” (Write Me A Song) show up, Saskia’s will still not bring the rain clouds and misery. In this regard the album seems like a perfect fit for peaceful souls  who surround their worlds with positivity and joy (or those that would like to little more in). It is a key characteristic of the work here, and an infectious one. 

There are several tunes to like here. 

“These Hours”, co-written with Clive Gray and with Australian songwriter, Cooper Lower, is a snappy song about friendship which glows with the warmth of deep bonds and the knowing of the bumpy road that is life. Other tracks roll in like cut grass, such as “Come Comfort Me”. Much like the “perfect, golden face” in the song, there is a gentle heat hiding a quietly fierce passion as Moore’s guitar rolls like Spanish sun and an air cooled with cocktails. Feeling and place don’t collide, but rather lie alongside each other on the beach and gently turning to catch the rays.

Another great number is “Wash it Away” with its Country nods. More than a skin deep Country-feel, it fully captures the faith aspect of that world of music. Closing your eyes and listening to the words, it’s minor harmonies wash over, and both in word and character the theme of devotion is like a coastal salt spray. Perfectly pitched and quietly joyous, it is one of our favourites.

That being said, “Write me a Song” is probably our number one pick from the album. The track considers a man (possibly later in life) who has seen and done much, clearly seen a lot of bloodshed. He is settling down and has decided to end his wandering. We cannot say that the theme is unique and groundbreaking, but much like Saskia’s only cover on the disc (“Hallelujah”), the strength of the tender conviction in her voice gives it a glow of its own like a constellation of fireflies at dusk.  

Some say Saskia’s music is a “balm for our times”, we cannot really argue with this. Saskia is a reminder of another era that seems far away in time and space yet one that is craved for by many. That being said, there is a lot of original music here and the album is a testament to quiet power and observation, and (in all the best ways) seems very wedded to the artist and her outlook on life.  In a politics heavy, frightening time, this album serves as a respite to the negativity, and is a solid buy. A little nostalgia and warmth goes a long way and not taking a political angle is definitely a selling point for many.

Check out the video below and Saskia’s website for more details, www.saskiagm.com

Categories
Album/EP Reviews European Folk Music Political

Will Pound- A Day Will Come (album review)

Breathlessly broad yet uniting; Pound’s love letter to the European idea and its people touches the soul.

Released 8th May (Will Pound Lulubug Records).

Will Pound’s Art’s Council funded work is an unbridled joy filled with light and cheers from every corner of your favourite continental bar. Much like our favourite A L’Imaige Nostre-Dame in Brussels, it is classic in its appeal and with grace contains a strong selection of beers (sets) to warrant it’s reputation amongst those that stop to admire the decor.   

More like The World’s Fair then your local continental market, Pound et al. make the call which brings all the winds of the Continent here and somewhere in its veins it carries a regal (but not austere) character that sets the mind racing. It is unashamedly a political album in the sense that the intention of the artist seems to be to showcase the strength of unity of the EU and the commonality of the musical identities throughout Europe. It accomplishes this by not just highlighting Pound’s own harmonica and melodeon skills (which are considerable) but several other talents are taking part such as Zhivko Zhelev (Dobrudja State Folk Ensemble), Dame Evelyn Glennie, Patsy Reid and Jenn Butterworth amongst many others.  It is up to the listener if they wish to bring politics into reviews, but it seems a disservice to brush over Pound’s vision as just a collection of technical sets that have sprung up independent of each other. In the booklet there is a written ode to our European brethren who came to our shores and the contribution they have given, the values and peculiarities they have adopted and Pound sees their value alongside the Countries he reveals in their musical mastery. 

Pound takes the styles and tunes of 27 EU member states he has researched and weaves them into a fine tapestry (like those 15th Century Netherland wonders) that starts from the sense of familiarity and builds on this until the tunes become etched in your ears. There is a lot we like here. One of our favourite sets on the album is Kaap’ren Varen/El Candil (Netherlands/Spain). The first sounds like a wild boar frolicking in the undergrowth of a national park, it twists and turns and occasionally puts his head above the roots to watch you with his dark eyes. Used as a children’s song it has a melodic hook which doesn’t so much grab as clasps you with both hands in welcome. As we get to the second part of the set, things get a little brighter, a bit like stepping on a folk revolving platform the tune  reflects light all round like a European disco ball. Jenn Butterworth’s guitar chases like a surreptitious, impromptu dance in the amongst the Spanish trees. A great number.

Bohdan Piasecki

We also recommend Krakowiak/Ellin Polkka (Poland/Finland) as a spinning show of grandeur. Intensive harmonica combines with crisp guitars and sporadic, sweet violin. Linking to the Finland track with a tale of migration the tune becomes more bombastic like a bevy of white swans just beginning to take flight. Characterful and suave it chases you whilst dressed in one fine tuxedo. The second half is in particular a toe-tapping smile and shuffle that would not be out of place in the late moments of the folk festival tent as your family whirls around you in tired happiness. Full of hammering instruments and the bullet-speed spoken word (from Polish poet, Bohdan Piasecki) it pleases, and in it’s urgency it seems to captivates from all angles. The Malta/Estonia track is no less intricate, especially with mind boggling notation on the accordion. Starting as something slower and more familiar it morphs into a free-reed bonanza as it progresses onward and upward.  The Greece/Cyprus track is similarly note heavy and a technical joy in a fascinating set which is somehow both positive and somewhat despondent in the same breath, however you want to open your ears to it.

Credit: Philipp Rathmer

Like a man running from a duel down the back alleys of Bucharest, Romania/Bulgaria is a percussion-led, clattering, happy little romp that then explodes into a historical fantasy with a longboat’s crew moving in time as the drums get louder and the oars pull. In the moment of the track the exquisite, adroit percussion of Eveleyn Glennie seems unmatched in the cosmos. Pound’s harmonica dances alongside in a way that is both light and intricate, a fine addition to the tracks within.

There is plenty here as well; 14 sets of two tunes is generosity, joy and warmth that continues to be memorable long when after the CD laser has stopped. We got swept up in the purpose and the celebration, maybe not everyone will; but we cannot think of anyone in their right mind who could not at the smallest absolute least, appreciate the very fine production and mixing that has been done here (Andie Thompson), each instrument really is an actor in the play at the Vienna State Opera.

In case you couldn’t tell, we were keen on this album. The year is still relatively young, but for us, this is most likely the best album we have heard so far. Pound’s own performance is stellar, his guests are so fresh and green they are positively hacking bamboo shoots in the China wetlands, and the breadth of songs is fantastic. Importantly, the depth and clarity from the sound engineering make everything sound exactly as it should, bravo.

Will Pound’s tour is on hiatus due to the Coronavirus epidemic, we recommend keeping an eye on his website at www.willpound.com.

Will Pound’s album can be purchased from a number of stockists, we recommend to purchase from Bandcamp here https://willpound.bandcamp.com/releases.

If your interest is piqued then check out the sample video below:

NOTE: We do not claim or imply ownership over the photos used in this article. If we have been unable to credit you, then please contact us in order to reference you properly at reviewer@folk-phenomena.co.uk .

Categories
Album/EP Reviews Folk Music Historical Vitality

Kirsty Merryn – Our Bright Night (review)

Released 24/04/20

Singularly beautiful, contemplative and dark. Merryn’s second album is a creeping jaguar in the rainforest of folk.

When you think of 90’s films with pianos.. What comes to mind?

Is it “King Ralph” (1991) with John Goodman playing “Good Golly Miss Molly” in formal attire and bragging about his Rolling Stone Collection, or maybe it is Matt Damon and his exquisite side-parting in “The Talented Mr Ripley” (1999)? Or something a little lighter like “Big”?

We have to admit that our mind first races towards “The Piano”, a 1993 New-Zealand period film about a young woman with a failing arranged marriage. She gives piano lessons to a man called Baines in order to get her piano back in her possession; it is a beautiful, sensual and ruminatory film.

Why do we mention this? Well Kirsty Merryn the piano-folk, singer of stories has arrived with her second album “Our Bright Night” and with it certain expectations. There is an image in the film that always sticks out to me. Near the beginning the beautiful instrument of the piece is left abandoned on the beach (it is tricky to move). Later on it is transported and effectively held to ransom by Baines in exchange for the aforementioned piano lessons and (consensual) sexytime. 

Photo by Todd Macdonald (https://vimeo.com/toddmacd)

What we are getting at is that much like that piano in the film, the “tricky” second album must feel like moving a mountain to create, especially as Merryn’s first outing “She and I” was a powerful celebration of incredible women from history which shone from beginning to end. Whether this is just some musician’s ghost story, a cold hard fact or somewhere in between could be a source of worry. But actually, much like “The Piano” and it’s savage vistas, this album turns out to be a beautiful meditation with a touch of the wild to it. All-in-all it is a quieter affair than “She & I”. Rather than the explosive joy and spontaneous hugs from mission control when the space mission launches, it is the quiet reverence as the large, looming wondrous sight of Mars fills the viewscreen.  Let us see this and look at the songs more closely.

The album has an epic wedding train of an entry with “Twilight/Banks of the Sweet Primroses”.  Merryn demonstrates from the beginning that her pianos and vocals are as strong and enticing as each other. On “The Banks of Sweet Primroses” we are also treated to Phil Beer’s enrapturing violin that contribute to a reworking that is like a grand stage curtain cloth. It isn’t Luke Kelly’s “rustle through the trees” or Clarke & Walker’s “echo in a woodland glen but rather like the unearthing of an archaeological find with its earthy, scholarly sound. A good place to start.

Photo by Todd Macdonald (https://vimeo.com/toddmacd)

“Constantine” is one of Merryn’s songs about a beach in Cornwall that early in her writing career inspired her. It is a grand  evocation of an attentive piano and longing vocals from both Merryn and Alex Alex (who joins Merryn here). It could also be a song about drugs, possibly the depressant kind as Merryn muses, “I feel your icy water cover me”. It is a gentle brush with the psyche on a cooling night with Merryn and Alex calling to lovers within nature, within the world. Quietly trembling and shaking with simplicity, “Constantine” is an excellent track.

There is also more traditional fare to re-examine. Merryn’s take on the “Outlandish Knight” can be described simply as anger-incarnate. You can picture the character is shaking her head at her deed of killing the man looking to drown her in the brine (as he had six others). Merryn’s voice maintains it’s quiet dignity whilst exuding pure judgement and righteousness in this vigilantism. Through choosing this traditional ballad and modernising some of the lyrics, Merryn infuses this with song with terror the likes of which we have not heard since Grimes’ “Oblivion”. Whichever way you look this is a celebration of powerful women both very different and very similar to her muses in  “She & I”.  

Photo by Jonathon Cuff (http://www.jonathoncuff.com)

“Mary” is virtually a row of sunflowers as Merryn tackles the often-mentioned subject of a “traditional courting song”, except with a slight twist. Trees become telephone masts and electricity pylons and the seafront has been “tarmacked” in a possible near future. Unlike many folk songs, its a song that surprisingly does not linger on outrage for nature being stripped or for industrialisation taking over. This does make it kind of refreshing. Think of the romance in Jon Boden’s “Afterglow” except that the post-apocalyptic Orwellian-hellscape only happened in Croydon. Lyrically beautiful and excellently sung and played (like all the tracks here), this song is inspiring in its foresight. Whatever the future holds, there will clearly be more industrialisation in some areas of the world (hopefully not everywhere). Just as old and current folk songs talk about heather, fields, the sea and places of beauty; folk songs of the future will take place in these other environments and maybe they will be considered old, beautiful sites of yesteryear. Whatever the case, a great song.

There is much else to like here such as the ghostly soft tones of Sam Kelly luring a woman to her death in “Shanklin Cline” with the dropping in of ominous minor keys and haunting longing, a galloping song about theft by the higher-ups in “The Thieves of Whitehall” and (probably) Merryn’s most stark and emotive song of passing to date in “The Wake”. 

In sum it is fearlessly mixed (Ben Walker) and mastered (Nick Watson). The quiet moments are thoughtful, Merryn’s voice soars in tandem with the piano like a pair of hawks and neither get lost in the twirling hurricane that is the mixture of percussion and strings. At times Merryn’s album is like a tragic fairytale. There are twinkles of light on the black sea of space (which feels very much like the album’s namesake) but as the dark themes of ill deeds  emerge the work is grounded in the vast moorlands and gritty folk-horror of history. Another way to look at the contrast is that there is a kind of gallows humour spread around like marmite on a piece of sourdough, but also the joy of shared bread eating.

Photo by Todd Macdonald (https://vimeo.com/toddmacd)

If you had not guessed, we cannot recommend this album enough. 

Go and buy this while you can, there is part of the tapestry of your mind yet to unwind. 

Check out a sample video below, we recommend buying from Kirsty’s website herself at https://www.kirstymerryn.com/shop

Kirsty’s online album launch was on 1 May on Facebook. If you want to listen a little more before purchase, then check out the video link on her facebook page https://www.facebook.com/kirstymerryn/

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Uncategorised

The Idumea Quartet- “More Than One” Review

Classical musicians take on the Appalachians and win while still dressed in their tuxedos and ballgowns.

Release Date – 9th April 2020, relisted to 1st November 2020

Label – Penny Fiddle Records

Like an inhale of peppermint-laced breath, The Idumea Quartet’s debut album offering is a spicy yet cooling work whose self-description of “tradition, innovation and whimsy in equal measure” is pretty much on the money. Comprising of Ewan Macdonald (violin), Jane Rothfield (violin, vocals), Rebecca Wolfe (Viola, vocals) and Nathan Bontager (cello, vocals), this fearless foursome have engaged in some considered work in applying their classical trained skills to reworking Appalachian folk music. 

Credit: David Rynkowski

You see, while this album is a sustained effort of chamber-folk it has its share of whimsy too. It is the kind of shake-up that makes this album like a flash of the magician’s deck of cards, and therefore something interesting indeed. The refreshing nature of “More Than One” is perhaps that brilliant friend you have who wears flowers in her hair and is often seen vaulting into the middle of a sardine packed dance floor full of energy and vitality. To look at her you might think that spontaneity is ill-informed, but she has done this many times and has the experience to back-up the novelty. Let us look at the tracks and see this in action.

The first is an excellent set of “Falls of Richmond/Grub Springs”. We particularly love this version of “Falls of Richmond” which whilst sticking close to how you expect the tune of the James River and small waterfalls therein, the training and orchestral bent of the quartet are here to enjoy. It isn’t played super-fast, the tune can be savoured and enjoyed as the parts all converge, rise and fall into the springier “Grub Springs”. A joy to begin, though potentially misleading like the pleasant ambience of walking into a sauna, things are going to get hotter quickly. Unlike a sauna though where it generally just gets very very hot, you do not expect what is to come here.

Next, for example, there is a great version of the Christian Gospel “Fall on my knees”. Beginning as the solemn take you would imagine it quickly transforms from cautious caterpillar to soaring Red Admiral Butterfly as the call of the thumping cello emerges and the pace picks up. It has the feeling of a spontaneous jam by the smoking camp-fire with its share of red medium-rare vocals and inquiring violin. More a shared bond of life than an overt call for a higher power, it’s humanist overtones are warm and inviting. In fact one could argue that the group’s cover of the Bluegrass song “Cluck Old Hen” is more religious in sentiments. Apart from the odd vocal flourish that slips the disguise a little, it feels like you are more in the house of God than the Henhouse. In fact in terms of reverence and introspection (about laying eggs) this song is on it’s way towards being like “The Old Churchyard” in feel. The interpretation brings with it a sense of desperation, resignation and the idea dancing on a poor family’s lips as to whether this hen’s fortunes turn round or it becomes the family’s last taste of meat before the cold hits. Bold and interesting, it is worth checking out. 

Carthy Hoose in contrast is a light delight of a tune. While airy in general feel, the violin and cello strings feel embedded like weighty iron train tracks; you can almost hear the cry of Mountain life outside the clattering carriage shutters. This steam engine starts as a formal dance but chuffs its way into the rural circle, champagne gives way to good old-time bourbon and a good time is had by all. Joy on several levels the track is brimming with movement and chi and it is also our favourite tune and track on the album.

We are also treated to a version of “Sally Anne” which is an interesting diversion sans banjo (as you might normally hear it). Quite dense musically, intentionally or unintentionally the backing vocals kind of sound like they are in the wind with so many overlapping strings dominating your senses. Kudos to the sound design and production on this track as I could easily imagine this recording falling down under its own weight under lesser hands. The sound production throughout the album (mixed by Jason Alder, mastered by Sam Proctor) is very good, you can hear the life that all the strings have of their own, in a way the disc seems to shine a spotlight on the instrumentation slightly more than the vocals, but for a classically trained ensemble this is exactly what you want. Except once again the band diverge from this notion with the next track..

It is of course the Idumea Quartet’s version of “Silver Dagger”. Up to now it would be difficult to predict how they choose to approach this song of high renown as the Quartet like to play with the blocks of form. It is safe to say it is treated well, sung with deep emotion and a backing musical overture which is like a dawn’s chorus as it grows from humble rays to fuller shining sun. We admit “Silver Dagger” is not our favourite song (I know, shock horror there), but we recognise the skill in which this old faithful dog has been taught some new(ish) tricks.

This album is like a wild hare. One moment it stands on its hind legs majestically austere as it surveys the scene, you turn your back for a second and the next time you look it is frollicking and springing into the air with festivity.There are musical conventions and consistant choices that could have legitimately made the disc a particular sound to fulfill a particular desire (pure fans of the Appalachian Folk)  but, to our personal relief it is playful and inventive as well as being competent and traditional.

Check out some videos below, you can purchase the album from BandCamp https://theidumeaquartet.bandcamp.com/album/more-than-one-2

Keep an eye on their website and social media to see when they are touring near you, they are currently rescheduling due to the Coronvirus outbreak. https://idumeaquartet.com/

Categories
Album/EP Reviews Folk Music Modern Arrangement Vitality

Luke Daniels: Old Friends and Exhausted Enemies (A Review)

Release Date: Friday 4th Oct 2019 (Wren label)

Rather belated we begin to turn the page on the new year (and into February!) with our review of Luke Daniels’ fourth solo offering “Old Friends & Exhausted Enemies”. Having been in partnership with the School of Philosophy at Edinburgh University and attended Celtic Connections to perform more than once, we would be expecting a work of contemplation, the mind and literary influence. Is this what we are getting?

Whether they be friends, enemies, young or old, Daniels’ has collected an impressive list of musicians to join him here all throwing their hats in the middle such as Zi Lin Lao, Jenny Hill, Aidan O’Donnell, the Donegal Abbey Singers, and many more. Combine a wide-ranging talent with an album which purports to take influences from English Poetry over the previous 700 years and you either have a pretentious party of twister, or something more fun, collaborative and well informed. It is a joy to announce that we get the latter where the quality of song is paramount and wins out over impulse for needless complexity.

The album is actually a chimera with its different parts menacing you from on yonder hill. It can sometimes be a light affair or something more reaching depending on which track you turn to. Some tracks have some rather murky layers as Daniels plunges into a sea of dirty washing-up liquid searching for meaning within the grease of existence. At other points, such as “Jim Bean and Brown Sugar”, Daniels takes a bouncing voyage into a much sunnier beyond where anything is possible. While the construction of each song is unique, there is the constant that each track you experience is going to say something worthwhile and the soundscape itself will fold and coil around your mind like a perfumed origami paper. Rich in subtext as it wades in a glacial pool of lyrics of the human experience it is an experiential album, one whose sound you can reach out and touch. Let us look closer at the songs.

“Jim Bean and Brown Sugar” is a opal-coloured casual sound that progresses with it’s good-time minor claps, a slight stagger of the feet and a deep supporting percussion rippling throughout. Like a good night out, you cannot predict where it’s beats will fall at first as the bar talk gives way to big thumping string and violin that is dripping with illicit thoughts and heat. We love the night-life pace which is also laidback in character. This is one who those appreciates the dimming of the lights and clinking of glasses as the night oil burns. 

“Officer of My Career” is likewise a warm, inviting and supporting song. The gingery violins make a difference, the piano is awfully bright and instruments cascade all around as Daniels winds his lyrical rope around what seems like a car-side discussion. You can imagine a long drive, and a quiet, humbling of one’s place in life as one encourages another. Moving forward it is a nice addition. 

For the particular folk lovers, like a burst of Spring sunshine, “The May Morning Dew”  emerges with an enticing array of layered strings, percussion and piano in a surprising addition to the album. You can feel the droplets of water starkle through Daniel’s example of quintessential nature folk. It is not just this though, the song bristles with his choral backing that brings a feeling of formal communion to this feature of nature. It teases like a tanuki as it clashes genre, ending up somewhere between Scottish Folk and a sweeping Eastern epic like “Crouching Tiger, Hidden Dragon”. It is a song that can we can get lost in even before the latter dreamlike, waterscape drops with Daniels’ voice being like the wind itself.. 

Another notable entry is “Where We All Must Go”. This is a song that has the hallmarks of an old mountain man amongst the shaking trees, the searing of burning coals and snap of long twigs. Like a few of Daniels’ tracks it moves with the pace of Americana but the road is flecked with delicious jazz influences and a thick layer of interweaving instrumentals that rise out a tar of percussion. Concise and to the point it is the campfire song that doesn’t outstay its welcome. It is almost like the singer is thirsty for the bottle of bourbon being so carefully passed around between great friends. 

The album is a rich treasure. Not merely the warm, fuzzy ambience of a bar in hunting territory, nor the smoky stage where a jazz musician plays behind their symbolic sunglasses; Old Friends & Exhausted Enemies is a highly refined and unexpected product. It is akin to a very good whisky that arises from its base components of water, barley and yeast; hard to envision, but the proof is in the taste (and here the sound).

We look forward to hearing more, and if you fancy something a bit different. Then please give it a go.

Luke Daniels is on Tour! Check out his website to see if he is playing live near you and grab a copy of the album! https://www.lukedanielsmusic.com/

Categories
Folk Stories

Soonchild: A Theatre Review at the Montgomery Theatre 27.10.19


INTRODUCTION

Bursting on to the Sheffield theatre scene comes “Soonchild”, a play from the Red Earth Theatre Company which is adapted from a book by Russell Hoban. It is a story of the environment and the value within it, as a whole it is based on Inuit mythology. Red Earth is an organisation based in the East Midlands that is spreading their song outward, what could be the message they are delivering? Red Earth warms the heart with their forthright central tenants that “everyone is creative”, “everyone’s heart can be moved”, and “everyone can feel fully alive”; all great goals and guiding principles.

It doesn’t appear to be all empty words either as the company demonstrates their good works through conducting research into deaf and hard of hearing theatre as well as integrating this into their plays in a meaningful way. It feels like they pursue theatre for all as a duck chases a cracker; their earnest determination is a bright light of representation in the arts, and it shows in this work. Their website is here https://redearththeatre.com/

More on this later though, let us return to the story.

STORY

“Soonchild” is pretty much as the name suggests; a child is in her mother’s womb and she is due to arrive soon. Unfortunately she does not believe in the world outside and will not be born until she hears the World Songs. The job of finding these falls to the child’s father John, a shaman who is doubting his connection to the spirit world. Not only this, he has recently had a run of bad luck trying to solve people’s problems in the village, he has “lost his mojo”. With the help of the spirit of his Great Grandmother (who likes her vodka), Nanuk the polar bear and many others he seeks the stories out to bring to his child which as well as convincing his child to be born might itself might be part of saving the world from an unknown danger.

SCENES AND CHOICES

From the offset you feel that this adaptation by Wendy Rouse and Amanda Wilde (director) is confidently making the choices it does. The Montgomery theatre has the space and versatility to carry off the play, it all comes together nicely here as it is a familiar, family atmosphere.

In terms of representation, there isn’t only an interpreter (more than one in truth as performers Matilda Bott and Brandon Plummer and Craig Painting switch these duties) but there are subtitles too. These appear on a nicely constructed sign by the side of the stage to keep the watcher informed (with the captions effectively done by the University of Nottingham captioning team).

There is another crucial element which we haven’t mentioned up to this point. The whole show has original accompanying music by the band “Threaded”, a group of musicians that have had high praise from Fatea Magazine and other folk circles. Consisted of Jamie Rutherford, Ning-ning Li and Rosie Bott, Threaded are a lively, smiley and emotive bunch of musicians that bring a range of moods to suit within the show. There is the swaggering music of the polar bear, the scary violin at John’s first death or the truly excellent potion-making tracks “Big Dram Brew” through guitar, violin and (refreshingly) clarinet. It is atmospheric and joyful to see these guys perform, and they seriously get involved in the theatrics too. A very notable addition is their commercial jingle that is a wry smile to our notion of a polar bear being all about Coca-Cola. 

Much like the book, the play is based in the modern day; the mix of the spiritual and the old and the issues of today form an exciting explosion like caesium in water that crackles and illuminates society’s worries for all. John could be considered in the grasp of depression over the loss of his relevance and skill but he is also concerned about the environment, and fearful for his transition to fatherhood. Craig Painting brings a lovely array of rubber faces to a full range of emotions, he is truly the “Sixteen-face John” that the story demands. You never doubt he is having a hard time, he portrays the character’s fallibility and sadness throughout with no pantomime, and this is a challenging task in a story where there is not a quick and easy resolution to this these tidal waves of worry through the play. 

Matilda Bott also brings a lot, particularly in her ability to switch between roles at the drop of a hat (or a shawl). A veritable spring of energy, Bott is a joy to keep up with throughout. In one scene early on it is presented that the performers are playing “rock, paper, scissors” to determine who will play John the Shaman’s wife. Bott “loses” the encounter and it does to Brandon Plummer to play this part. What comes across as a bit of fun and games is really a clever bit of casting which makes a bigger statement than how it appears. A man playing a woman is not a new thing, but it is only in the finale of the play when the two men kiss when you realise it could be making a positive statement about sexuality too. And like it’s treatment of depression, self-worth, and disposable commercialism it is all simmered into the narrative like those hidden carrots in your child’s pasta so with quiet acknowledgement and acceptance “Soonchild” is the very best education. 

Soonchild is also a brave and accomplished production that knows it’s family audience. Alongside the acting there is puppetry of all sizes (Plummer in the towering puppet of Nanuk or the tiny puppet of John traversing the mountains) and the puppet design adds a lot to what is seen (Nick Ash, Emma Powell, Steve Tiplady). There are also models, musical interludes and enough wonder to shake glittery wand at. Younger children will be taken in by the spectacle, older children will see the magic in the fantasy and parents will be entertained through and through. One surprise was the inclusion of a noteworthy shock in the play that comes at the end of the first half. The scene itself is beautiful, haunting and the lighting is on point (Callum Macdonald). It is however uncompromising, so parents of young children may need to reassure them at this point (though admittedly this did not seem to be an issue when we watched the play).  

IN CONCLUSION

Soonchild  is a rousing, spiritual and, at times, bizarre story (like all great works based on mythology). The tale is kept fresh for children and adults alike through its transitions between acting, puppetry, shadow-work and special effects; and at no point do you feel that you know what is going to happen, and that is the joy of it. Multi-layered and interesting it’s core message is shouted even stronger with the thoughtful and effective inclusion of signing and subtitles.  

So it is a party that everybody is welcome to.

“Soonchild” is on tour, check out details here https://redearththeatre.com/shows/soonchild/


Categories
Album/EP Reviews British Folk Music Historical Sea Folk Traditional

Reg Meuross – 12 Silk Handkerchiefs (album review)

Let us turn to Reg Meuross and his new album and project “12 Silk Handkerchiefs”.

Constructed and composed alongside Brian W Lavery (who is the author of “The Headscarf Revolutionaries: Lillian Bilocca and the Hull Triple-Trawler Disaster); the album is a remembrance of the great Hull fishing tragedies of 1968 (of which there were three in quick succession). The album turns its gaze to many of the individuals involved and has a part dedicated to Lillian Bilocca. Lillian Bilocca worked in the fishing industry and courses through her family’s blood; the album pays tribute to her extensive and sustained work to improve safety legislation for fishermen following these tragedies.

So it is true to say that this was a tragic series of events, and a dark passage in Hull’s history.   

(Creator: RACHEL SNOWDON )

In this disc,  Reg Meuross doesn’t just create an effective memorial but also an artifact as it is one of his most living, breathing albums of his recent work. This takes some doing, especially when taking into consideration his “Faraway People” album, itself a great disc and chronicle of modern living. Like a quiet summit, the album communes and hears the voices of singers locals to Hull as Sam Martyn and Mick McGarry join Meuross on the disc. Their inclusion is a good one. Alongside Lavery’s narration these three form the foundations of local history by bringing their social knowledge to the compositions. Surprisingly, Meuross rarely takes vocal lead; he allows these connected voices to breathe life-affirming wind into a work of family, community and heartache. This decision is central to the album and it’s concept, though certainly not due to any lack of skill on Meuross’ part. Lesser artists might have felt left out, but Meuross is selecting “realness” over “ego” and the album is all the greater for it.

There are thirteen tracks on the album with roughly half being narration. The spoken word tracks set the scene and welcome you with to the context of each song. It is atmospheric and builds understanding. Even if for some reason, the theme of the album wasn’t for the listener; it is an excellent work for seeing the art of songwriting. The narration sits next to the songs like a beautiful ash wood next to a hunting bow, you can see the structure and design side-by-side. The spoken word adds a lot by generating a rather poetical ambience, in some ways like  “Under Milk Wood”. The descriptions carry to the time and place and you feel for the people it talks about. More than entertainment for it’s own sake, the CD is a time capsule and valuable memory of history.

Creator: RACHEL SNOWDON

Looking at the tracks there is much to enjoy here. A thread that runs throughout is Reg’s excellent acoustic tones that are like grand Egyptian hieroglyphics; recognisable, solid and stand the test of time. Their levity compliments the sometimes sadder aspects of the stories being told.

“Wash Her Man Away” is a superstitious number, as the wives of fishermen will  touch no laundry while they are out or their man will be washed away. Wife and “Ray”. It is a calming number that, much like the figures of the song, mask a niggle of anxiety and worry. McGarry’s voice conveys these themes well with his layered presentation. God-fearing and cracking in mild fear the track is almost a prayer, which no doubt those washing women had on their lips and in their hearts.

Creator: RACHEL SNOWDON

In “I am a Fish House Woman” we see the character of workers in the industry again; this time they are gutting fish and plunging their hands into warm water to fight off the bitter cold.  Martyn’s voice has a fragility reflecting the emotional core of the fish house woman who present a tough armoured exterior that can “give as it gets” and appears to be “getting on” with a strong inner resolve for what seems like difficult and cold work. The sense you get is that the fishermen were at great risk but the other parts of the industry weren’t a rosy picnic either. Each song on the album paints a little corner of the tragedies and the many faces of it. Martyn has been described in other publications as being “reminiscent of Maddy Prior”. I cannot argue with this assessment, it is very apt and she is a credit throughout the album.

As is the case in some of the best folk (you might not agree), the happiest tune often has the gloomiest or saddest of context that sits in the lyrics themselves.  In “John Barry Rogers” we see this in example as the title character goes to lengths to save the first mate Harry Eddom; the song laments as McGarry reaches the notes of woe while the acoustic guitar skips to the beat of a lively pub discourse. Similarly Reg’s vocals on “The Man The Sea Gave Back” is especially true of this with the rousing hummingbird of woodwind that plays through the dire warning, “When you go fishing from the sea. Beware the sea does not catch thee”. It is a great number, a melodic joy whose gentle laps at your ears belie a raging and invisible terror from the deep blue. 

Creator: RACHEL SNOWDON

Do we recommend “12 Silk Handkerchiefs”? Yes We Do.

Reg’s album is a gift to Hull and as essential to fans of maritime history as the fishing net is to the trawler. It is realistic and in places sombre without being a dirge. Held fast by Meuross’ light and playful instrumentation; a devilishly difficult balance of seriousness, respect and a positive tone is struck in the album. This is an essential purchase for fans of Meuross, especially as several of his hallmarks can be seen here. A difficult subject matter is here treated with care not so much a solo work; to the great credit of Meuross but more a work of community and history.

And this makes it very valuable indeed.  

Reg is bringing the album on tour, check out the website to make it to what will be a great addition to folk history and performance at http://www.regmeuross.com/events/