Observational and considered, Lakeman collects a squad of influencing folk artists that bring his rich imagination and celebratory character to life
Released 3rd February 2017
Geoff Lakeman, in a rather circular and interesting path has recorded his debut solo entitled “After All These Years.”
What I mean of course is that Geoff is known to many being a renowned journalist for several users and also being father to Seth, Sean and Sam Lakeman; all musicians, all well known and father-in-law to equally renowned Kathyrn Roberts and Cara Dillon he has influenced some great musical talent, but he himself as never done a solo recording. I’m sure there is some saying about Salmon returning to where it was born or something about rivers and the ocean (I am not sure myself what I mean) but this personal wish to have have a disc made is a big one, and a timely one of that.
In a world where politics are more than ever discussed and the issues of truth and honesty are being debated; there is something refreshingly simple yet powerful about the contents of “After All these Years.” After all, Geoff was a veteran observer and recorder by profession (in journalism), it seems that however the world has turned Geoff would have seen and heard all and he is presenting what he knows to the listener. As a result we get an album that feels like it honours the songs within that he covers as well as the working man; it speaks from a wise, considered approach to the fundamental traditions of folk and has a pretty humble quality to it. Another way of putting it is that there are few “airs and graces” to be had here, the album is a listener and thinker not the debutante who wants to be seen and heard at all costs (and more the better for it). As a listener, Geoff puts on a quiet celebration.
Indeed, the album is characterised by it’s celebration of the past and in order to do so Geoff is joined by a multitude of artists. Not only is there family as Sean(producer an guitars), Seth (violin, viola), Sam (piano) and Kathryn and Cara (vocals) but also the well received Jim Causley (vocals, accordion), Jamie Francis (banjo), Ben Nicholls (bass, harmonium, jaw harp), Dan Crimp (whistle) and Gill Redmond (cello) also along for the ride. This crew of forces are to be reckoned with, but then they are topped off by legendary guitarist Nic Jones who sings some backing vocals on “England Green, England Grey.” It all builds a picture of an album intimately assembled with it’s supportive and close roster of characters. How are the songs?
There are some great Geoff Lakeman original works here. “Tie ‘Em Up” is one example of many on the disc where Lakeman is holding his principles dear, standing up for the fisherman with their imposed quotas and livelihoods that are being toyed with by officials, “We’ve risked our lives, left our wives. Missed our children growing up. Now we are high and dry upon the shore. On the dole – won’t fish no more.” A bouncy type of shanty and a sideways jab at authority like the latter original track “Doggie Song” (that we will see later), it would not be out of place in a musical on the stage with professional dancers in yellow fishing macs juggling buckets of fish. It oozes character as a squid oozes ink, the vocal harmony injects an infectious energy throughout and the concertina, as you would expect, is faultless. This all comes together in an even grander way for the “Rule and Bant”, a song about two Cornish miners who were trapped underground in the latter part of 1800s and the events that unfold as air was pumped down to keep them alive. It booms as Lakeman weaves the story around with harmonies that plunge deep like the obsidian earth itself and promising doom. A clear favourite that incorporates some nice touches with history.
But also there are covers that showcases Lakeman’s ear for a good tune and history in the folk scene. For example, Geoff’s version of Buddy and Jullie Miller’s sun-scorched “Wide Wide River to Cross” gives several of previous renditions a run for their money. His voice is warm with crystal clear enunciation, a beautiful trill of a vocal harmony and performed with a truly emotive mix of instruments it really gets into the corners of Americana’s dusty barn. If old folk songs were cowboys, this would a sheriff. The concertina bites delightfully across the track like the wind of a dustbowl’s cold evening nights, it is all very enjoyable and another favourite on this disc. Whilst historical in nature as it touches on other times and places, Geoff’s recording of Reg Meuross’ “England Green and England Grey” is very much of now, a political powerhouse and a commentary of the state things. It might be somewhat topical with its distrust of the “BBC” and “the NHS, our England jewel, is bartered by Westminster’s fool” but it really could be any time, especially as it recognises our British empire past. Managing to be both celebratory and critical of the state of things it perhaps places what it is to be British beyond all these events and ends with a collective call. Singing with Nic Jones shows a lovely contrast on this track, they work really well together and bring a several sided look at strength, fragility, morals and tradition to mind. Wonderful stuff.
Most importantly though, the cd never takes itself too seriously. Indeed if serious “down-the-line” folk is a bus then at a couple of points on the disc Geoff makes a stop to find a real ale tavern leading to some excellent diversions. It is hard to pinpoint the parts where he particularly relishes the fun side of “folk” but “When the Taters Are All Dug” and “Doggie Song” are pretty good candidates. The former is Lakeman at his fullest rural peak, as I picture him drinking milk with a straw hat while agricultural machinery is strategically placed in the background. Lovingly committed to the song throughout, the charm emanates all round be it the distinct twang within, the high caliber squeeze box or Lakeman’s own voice that rises and turns to the challenge. You can almost picture his smile through whatever audio equipment you are using. In all the best ways possible, you can imagine “Doggie Song” as being part of a vaudeville act. Gently lamenting on there being nowhere where his dog can go for some much needed relief it playfully paintings beach inspectors as some kind of organised cabal of fun haters and the South of England gets painted jokingly as no place for a dog. As an original track it is an interesting glimpse into the Geoff’s mind and it makes you wonder what else he has yet to reveal. It’s chorus will certainly linger in the mind, “you can’t bring your doggie down ‘ere.”
What can I say? The album is like a film with Lakeman being the ethical director, the heart and soul that shapes the performances around him. There are many other gems to be found here which I haven’t mentioned, so I heartily recommend. The production is crisp and captures a fine balance of instruments, the duet concertina is very much a star but not at the expense of the other fine performers and instruments here. He leads in an admirable way on the disc, being fearless of reprisals and confident of the dignities and rights of people. When such a moral attitude is combined with some of the most recognised performers of the day, you expect magic to happen; and it does in spades.
Check out Geoff’s site here for details of purchasing the album and for more information.
Isembard’s Wheel sit between modern indie folk and more traditional folk fare that should properly interest the industry both as a great live band and one with crossover appeal.
Introduction
The Shakespeares Pub in Sheffield is hosting some great artists; some new and some established. I don’t want to gush too much, the pub gets a lot of praise for it’s real ale, and (for me personally) a pretty extensive catalogue of whisky too. If you are in the steel city, I say check it out (go here)
Relatively speaking Isembard’s Wheel are fairly new to the scene, though they have appeared in a few prestigious places (Warwick Folk Festival), and have had a mention on BBC Introducing too. Tonight we see them for their album launch of “Common Ground.” It is a rather joyous affair with fire dancers, some warm-up acts and some great beer on tap.
There is definitely something here with this band. On listening I would say that their music could be considered a kind of keystone of folk music. It is like an indie folk band in terms of arrangement and instruments but there is a keen, natural eye that looks to traditional folk for songwriting and themes which goes beyond most indie folk artists; and this for me is pretty exciting stuff. Many an hour can be spent debating what “folk” is and lamenting on the state of live music or volume of young audiences but truly a band like Isembard’s Wheel (in my mind at least) has the potential to be the bridge or even reception room to the vast, varied and interesting genre of folk music.
Supports
Before the group takes the stage we are treated to some support acts. Acoustic singer/songwriter Jordan Wrigley took the stage first.
Jordan Wrigley, from Wakefield is a student of Law at Sheffield Hallam. He has performed during SHUfest (a celebration of talent at the University) and a few other places too. There are no dusty tomes to be seen or any interrogation of witnesses, for his knowledge of performance is up for judgement on this night.
Wrigley has an enthusiasm and also brings a quiet sensibility to his set and character. A good and practised voice, his cover of “The Banjolin Song” from Mumford and Sons benefits from being a more stripped down version of the song. I prefer it to the hit number which is more buried in layers of reverb and production and in hindsight too many expected conventions. Wrigley’s effort draws in more attention to the lyrics and celebrates the acoustic form as much as a bear celebrates honey. He also plays Paulo Nutini’s “These Streets” too laying down a consistently positive attitude throughout the course of the songs. All this being said, in the best possible way, his own songs overshadow the covers and hint at a deft hand for folk writing; for example “The Charge”, a song heavily influenced by the Charge of the Light Brigade. Quite persistent in how it grabs you, there are some interesting storytelling elements within and of the soldiers’ lived experience. With a little more instrumentation and arrangement that could bring the deeper boom and impending doom of this subject matter further to the listener’s consciousness, the song’s could shine even more and would not be out of place on a veteran folk artist’s album. He also shares an original song based on Wuthering Heights, and some more familiarity with a bit of Springsteen. It is good to see consummate ukelele play and a positive reception to this set from the audience. In sum a refreshing amount of variety, a good opening and an artist to keep an eye on.
The second warmup act is The Idolins. Somewhere between the Cranberries and The Corrs the group occupy a scene within pop-folk with a seasoning of rock. Coming to the stage with candor and some Nottingham charm thrown in, The Idolins have got a long reach and appeal to listeners who enjoy different genres; their talents have not gone unnoticed by BBC Radio 6 for example. They have a lineup that includes original member Karen Smalley-Turner (vocalist, songwriter, guitar), Nick Scott (guitar, harmony), Mark Rice (percussionist), Dukes (bassist) and Hannah (cello). “The Idolins” have a sweet sound, the voice is not syrupy in-your-face sweetness but rather an ambient sweetness; like the marshmellows in a Rocky Road. They previewed “Refuge” adding some banjo to this as yet unrecorded number. Rolling in bass there could be some comparisons made with this song to Natalie Imbruglia, though with a more social-issues subject matter, it is quite thoughtful and enchanting. A favourite for myself is their new single, “Seasons.” More of a ballad, the fiddle sounds especially good and the lyrics tangle themelves around the concept of seasons of the relationship’s temperment and life. Nicely worded and like a quiet blustery day it captures the idea and gently spins a story of colour, intensity and sadness; worth an exploration. There areplenty of other tracks to be enjoyed too including the self-professed “Skunk Anansie-like” track “Safety Net” with it’s heavier rock and “Nothing Missing” where slight world influences with great rhymes and an anthem to sing along to. A lot to like on the way to Isembard’s Wheel, check out the Idolins website here with details of purchasing “Seasons”, their most recent single.
Before we get there though I would like to give some applause for “Jackdaw Circus” who provided some fire-based entertainment on the evening. I don’t think I’d seen a firewhip before, the closest I’ve ever come to it is the energy whip in the 80’s He-Man film (I was young and my taste went astray). It was great, I’ve seen a few circus acts in the past, but these guys were something else; you can tell that they have performed in Edinburgh Fringe in the past. Funny and political and really practised, the duo of this fire-taming group entertained between artists and as performers some of the friendliest people you can meet. Their skit around different Countries was particularly good. If anyone reading needs to book some entertainment; you can’t go wrong with these contemporary Denis the Menace, fire bard types. Check out their site here.
Isembard’s Wheel- Album and Gig
So this brings us to the main act “Isembard’s Wheel” launching their album “Common Ground.”
Comprising Alexander Isembard, Edward Young, Toby Morris, Rebekah Foard, Joss Mann-Hazell we get a great combination of lyrics, guitar, banjo, double bass, and fiddle that shakes the Shakespeare, sparks the light fittings and generally throws both feet forward into the world of folk and live performance.
“Rauccous” is not the right word, but there is a lot of energy here and for a debut album from a relatively new group there is a fearless attempt to try and cram in a number of genres, and like a pirate who has ransacked the sinking ship, the gamble pays off. The positive qualities of young musicians is sometimes attributed to a lack of restraint over genre and previous traditional material, I would say here that “Common Ground” doesn’t fit this mold. It instead is a large showcase of musical forms and niches that are performed very well within their own genres and then brought together here. It is quite sharp about how the group does it, it is not an album that feels like it stumbles at any point and whilst reverent of different works, it never slows to catch it’s breath. For example they do a more than serviceable cover of “Adieu, Sweet, Lovely Nancy” with an Americana influence and layers of strings making it more of an anthem than you might imagine. As it progresses it goes a bit mad and just after the middle we arrive at Sydney Carter’s “Lord of the Dance”. It won’t be to everyone’s tastes but it bursts out and gets the crowd going, for younger readers there is actually a bit of Green Day going on in this performance (yes, I am aware they aren’t a new band ha ha). The good thing you feel from their performance and the disc is that these are not token references, there is a love for what has come before.
“Ask the Time Away” is similarly nimble number leaving with little time to gasp with a rewarding and almost pop voice awash with like the light flashes from artist’s palette, “I could make the finest work of art, it would soon fade.” More dancing is inbound with “Turner’s Bones” which has the youthful energy of indie folk of kicking a positive beat to life with it’s characteristic big drum, it’s a song that enjoys itself it reminds of that first hint of sun in the Spring that laps at your door. They are certainly adding something to the folk genre. Their sound has a lightness of touch in lyrics that reminds me of the rather prominent group at the moment “Ninebarrow” with the dwelling on the influence of the rocks, the birds and the green landscape that gives rise to inspiration and celebration. “Isembard’s Wheel” take introspective lyrics and take them down on a whitewater raft. Their sound seems very much to be situated in the Sheffield with influences from the Peaks and their songs have a naturalistic feel to them like the Green Man himself is roaming the Damflask reservoir or pottering across rocky outcrops at Mam Tor. As a local there are a lot of different landmarks and energy of the land that they have in their collective musical aura.
There is versatility in the album tracks that comes across on stage. Taking the group somewhat out of Sheffield and perhaps with Westward eyes looking back in time, “Sowain Tul” is an A Capella joy, a frontier kind of reflection of life and death that you might find being tackled by someone later in life. You can almost feel the hot wall of Arkansas air and the spirit of contentment wash over “So when I stand over my bones, ever more beneath the leaves.” It’s harmonies are top notch and percussion, foot stomps and thumps really vigorous and catchy. “Horse on the Hill” is one of my favourites with it’s adventurous and zesty series of strings, banjo, fiddle, guitar all coming together to express the burning candle of love,”you are the dawn on my day.” Possibly a prehistoric love with the “Horse on the hill” being one of the giant figures of a horse carved into the hillside from ancient civilisation, the song does what the band does best; mingling the old with the modern and making something very interesting from it. The voice is uplifting and sounds great alongside the rich soundscape and some nice touches of lyrics and melody that is inescapable, “I thought myself a man before I became a boy.”
In the flesh they are an enthusiastic group who had a large mixed-age audience. There is a lot of crossover appeal with their songs concerning all matter of subjects that are held together by a coursing tide of nature and history in it’s discourse. Their set is quite loud as a vehicle for their creative energies, the crowd are equally enthusiastic and engaging; a quiet set of folk ballads this is not. But then not everybody does that, and the folk industry should be happy indeed with a band such as this which has faceted a musical sculpture which is not just indie-folk but has a place in myth-making and traditional folk music too. Quite fearless with musicianship that combines energy and sensitivity, Isembard’s Wheel should be on your radar.
Isembard’s Wheel have a tour coming up, check out their website for details and where you can purchase their new album, or check out their Facebook Page for more details
Some emotionally grey, but not dismal tones as Yorkshire local Andy Whitehouse launches his thoughtful solo piece in Sheffield.
The Heeley Institute is a like a small crab, delicate yet intricate and versatile with a beauty in it’s design.
It isn’t the largest space but it has hosted some of the biggest acts. Recent winners of the Radio 2 Folk Awards, “The Furrow Collective” performed there last year (I luckily managed to get tickets for this) so it’s not just me who finds the place magical. You can’t get much more intimate, it’s like a pub but without the potential for loud interlopers during the set (definitely a bugbear of mine). Put simply, the Heeley Institute is a rather special place and while it is home for the night for big artists, it is also a venue for local musicians. On this night in March it is the launching pad for Andy Whitehouse’s solo album “Almost Home” alongside some supporting acts.
Residing in Sheffield Whitehouse usually plays in the band “The Silver Darlings” with a jazz rock and blues edge. Going solo, his sound has changed a little. It is moving a bit more towards the sullen than it might have done before and while doing it, it still retains it’s introspective angle that characterises “The Silver Darlings”. Like black silk moving across a dressmaker’s table, the songs roll through the sewing machine of music as the artist negotiating the edges of genre, creating stitches in the leathery Blues of the album. Not bright and cheery in the everyday sense it is a moody set that invites comment and reflection; if this appeals to your sensibilities then the music from the whole event will be right up your street .
On the night, Andy Whitehouse is joined for the festivities by a couple of support acts: the pretty dark Richard Neuberg and a fairly new, acoustic duo Mike & David.
Mike & David bring an early bit sensationalism and cabaret to the evening kicking things off. Playing a few tracks to get the crowd going there were some joys to be heard. The pinnacle is a rather delicious cover of Pete Burns’ “You Spin Me Round (Like a Record).” One cannot really argue with a great stage presence and more sass than a sarsaparilla smoothie. As a cobra ready to strike, you get the feeling that there is some untapped potential here, a duo with more places to go. Richard Neuberg was less of a cabaret motorshow and more a lone bounty hunter doing laps around an inky, dangerous pit. Dark clouds descended as he sang, his words almost slow clap to the man in black himself. Some great songs ensued like the swirling “Summertime” and it’s grim words, “what we burn we betray” and the chasing, affecting guitar and song of “Gold in the River.” There is more that can be said, but check out his website and have a listen to his work (here). At this point the seeds of melancholy have been cast and the grim rider has mounted his steed as Andy Whitehouse launches into his album.
“Almost Home” starts and ends with the sound and feeling of travel; it’s opening track looks inwardly and folkily to the nearby places of Yorkshire with “The Daleman’s Litany.” Previously tackled within the genre by Tim Hart & Maddy Prior, Christy Moore, and Roy Bailey to name just a few, Andy Whitehouse’s version can be described as being despondent, downtrodden and pained in feeling. Throughout the song there is a kind of chamber harmony, bringing a spiritual dimension to the song and making the man who has seen and done many things more of a living pilgrim than anything else. There is a feeling of weariness too; the guitar has the odd scratchiness to it and the song feels a bit detached like that the floating feeling of sleep from the lorry driver speeding through long roads of neon lights. Whitehouse lists the well known Yorkshire towns of the song “Hull”, “Halifax”, and “Keighley” to name a few with him being like the “eternal wanderer” who is never at peace. Some good exploration and it’s own stamp of identity, Andy’s first track is a banner for tracks to come.
If “The Daleman’s Litany is broad and spiritual “Beauty Before Darkness” is like a mirror ball that casts light and shadow on a relationship. Whitehouse wrestles with the starkness of the song. displaying shades of grief and angst throughout the lyrics. It could be the notion of love between troubled people, it also be the finality of one’s own life; Whitehouse’s delivery allows the audience judgement. It takes its time savouring the storm. With it’s waves of emotion from Whitehouse’s delicate vocals combined with the dark night mood guitar we get a poignant number with sad undertones, “Love is like a sunset, it’s beauty before darkness.” One of my favourites on the disc, a good second track and an enticing number, with it’s inner eye working overtime.
“Cherry Blossom” also has quite a bit of charm being is an off-beat song with bass and light touches of percussion that sound like the dropping of crystals. Much like “Beauty Before Darkness” it is laced with possible undertones. This one is like a song of addiction calling of loves past, occupying a kind of space between the waking world, the world of memories and the one of dreams. “as the sun comes up again, nothing soothes the pain.” If it isn’t obvious Whitehouse’s album and performance seems to call from quite a macabre and sulking place deep in a the middle of a goth gathering; though it never feels like posturing of for it’s own sake and there aren’t any elements of pretension. If it just a good fit of mood to lyrics. The sweet spin of brown sugar as it is swallowed by a frothy coffee I love the austere edge of the song, the deliberateness of the performance and places that Andy reaches for.
There is a brief interlude with “Jessica Faith” as a lighter instrumental and “Like the tide” has some more joyous moments too. “Almost Home”, on the other hand is like a late night drive over Sheffield’s local snake pass with the fog rolling in. Guitars harass from all angles and the darkness creeps in, the guitars work really well on this track; something about the whole sound, the atmosphere gives a shiver of timelessness, of thought melting into the road and dead of night. An extremely, evocative track it is the mind racing to the unknown wilderness, the sharp noire and stillness that you find in Murakami’s “After Dark”novel. Great, I love it.
If there are similarities between this and Whitehouse’s work in “The Silver Darlings” it is the joy for the blurry edges of genres and the murkiness of some of the songs. It is a blue splashing of paint blending into obsidian, a delightfully inner world being dragged out of the depths of the mind. It is not the album for those that prefer their world-view through the lens of a rainbow and sunshine, it instead it hangs out with Reece Shearsmith in the woods with a blues guitar and a sense of parnioa. Check it out if this sounds like your kind of thing, “Almost Home” is available on Amazon (here) as well as Bandcamp (here) for purchase.
Steamchicken is a universally fun and energetic band boasting shamelessly soulful vocals and a catchy, booming brass-line.
Chocks away!
Somewhere between a smoky jazz outfit and a blues brass extravaganza, “Steamchicken” are a group who set out to entertain, and do so in spades. Much like the wise, old traveller from a Western or the steely glare of a a wizened sensei in a martial arts movie, it feels very much like the band has seen and experienced a lot; their music reflects a fusion of life experiences, musical history and stage presence. As a result it’s very hard to dislike the work they are doing here and there is a lot of widespread appeal. Comprised of a huge roster (or is that rooster?) Ted Crum (Harmonica, Bass, Melodeon), Andrew Sharpe (Piano), Joe Crum (Percussion), Mandy Sutton (Tenor Sax), Becky Eden-Green (Alto Sax, Bass), Katy Oliver (Trumpet), Matt Crum (Soprano Sax, Melodeon) and Amy Kakoura (Vocals) it is clear there is a large brass influence to the mix, (which I love to bits). It also means that there should a bit of instrumentation for everyone (though maybe not shruti box enthusiasts). The addition of Amy Kakoura’s voice is like the aroma of flowers in a beautiful display collection that draws the crowd in and fitting along the steely harmonica and chasing piano quite nicely.
It is always a pleasure to see the chickens in action, and on this day they certainly were poultry with a purpose. “Steamchicken” come to the Bury Met to perform in the smaller space at the venue; not quite the scene from a New Orleans club basement (the seats are too comfy for example) but certainly an event and show with energy, pizzazz and a rather enviable lineup of songs to influence and entertain. It is an intimate space and like the friend you knew at school that smoked menthol cigarettes in the rain, it is rather a cool companion to the larger concert room upstairs; it felt like hanging out in the world’s best basement conversion with friends as you set the worlds to rights. On this day it was the album launch for their latest collection called, “Look Both Ways”, sensible advice for chickens and humans alike.
One of the joys with the group is that they tread not too softly upon a number of genres and gladly share in the fun with the audience. On entry to the gig, Steamchicken gave out a number of stickers (some were left pointing, others right pointing). This was not obviously apparent but whichever way you pointed (ooh err) had a bearing on how you participated in one of the songs, either as the train klaxon or some wheels rollin’ on down the track. Lets say I rolled alongside a lot of others, fun was had all round and we certainly were getting somewhere. From their years doing ceilidh and previous band reforging with Amy Kakoura, they are definitely ploughing ahead. It was a fun show, it really doesn’t take an over imagination to work out that they would fit well at a number of folk festivals. What of the music they played on the evening?
Their songs ranged from folkier numbers to full blown blues and jazz, an instrumental number and doses of the musical influences for ska. Whilst showcasing some tracks from the new album there were some numbers drawn from the band’s previous works too. Of the folkier stuff they tackle there is the folk classic “The Oak and the Ash” with some wonderfully sad piano with a voice like an expressive vine wrapped around a tree, a tightening and heart tugging presentation. From the new album, “Big Tin Horn” is a further example of them working with a sound that crosses genres. Somewhat a folk shanty, somewhat swing and also ska/jazz backing it reminds just how fun music can be. Like the friend who is centre of attention at a gathering who also drags up the mood, the energy; it is breathless, the gentle breeze and sun of Spring. The brass takes on a life of it’s own and the nautical interludes are truly exquisite, “dance to the rhythm of the marching band, dance to the coming of the dawn” (probably my favourite track from the new album). “Mary and the Soldier” was another track from the new album, one of most expressively old-world numbers sounding like it is running through a forest of expressive accordion and deep, longing song (a song Dylan and others had recorded in the past). The most committed song to the idea of folk on the album, it is folky jazz at it’s best; if they were children stealing biscuits from the biscuit barrel they would leave no trace, likewise here folk is combined with their jazz instrument leanings in a seamless way.
Another track “Jericho” is something else altogether though exactly as you would imagine with a hallowed call, soulful wall shattering melody from the brass and Old Testament name dropping, “Joshua”, “King Saul” and all the other big names from the time and place. War-like in tempo it is the heavy cavalry within a medieval army, especially so as other artists with songs that call upon this event from the Bible (K.D. Lang, Hilary Duff, Kelly Oliver just for starters) take either a more oblique, saccharine or personal narrative approach to the imagery (in that order). Steamchicken’s take was kind of “in your face”, a confident cousin telling you to take the risk to swing across a stream on a rope or the artillery firing in a Napoleonic regiment. “Western Approaches” remains a favourite, transplanting you from the certainty of things to a storm brewing on the open sea and the quickening of pace. Starting in a swing fashion, the drums call out the certainty and ebbing of the sea; then as it progresses the band blows left and the band blows right, as it takes off and picks up pace. It certainly brings the adventure of sailing forward and revels in the joys and fears of this ancient pastime and trade.
The band have put in a scattering of covers to their new album, they all fit remarkably well though and their spin on things are always interesting and add something to the track. “When I get Low, I get High” is a streetwise, urban rumble of a song, a mindful cover to include on the new album. Though a cover of a 30’s track, it does do it’s own thing and their performance showed a smoldering Amy Kakoura. It is high kicking, it growls and pounds the burning sidewalks with it’s presence, and whilst it isn’t Ella Fitzgerald’s signature bite, Kakoura’s voice reaches around and brings a class of it’s own, “My man walked out, now you know that ain’t right, well he’d better watch out if I meet him tonight.” If you wanted a snapshot of Kakoura’s versatility in soulful voice, this might be the track that you go to first. Quite possibly a monumental influence for the band name, “Ain’t Nobody here but us Chickens” is one their finishers, a swing mainstay of a song and an indicator of their vintage soul their cover is up there with the best (and their chicken impression is one of the best I’ve ever heard).
A fun evening for all really. There are always several head nods to yesteryear but the band themselves carry a fresh, vibrant strength of voice and backing. There is a lot of variety here, a very good fit in musicians and throughout the set several “spotlight” moments where an “old time” glamour is presented on stage and you lose a little sense of the present. A great venue, a great band, a great night (for everyone).
Steamchicken’s new album “Look Both Ways” (released on 10th Feb 2017) can be bought here and they are doing a few dates later in the year (check here)
Once again I was released from the steel gates of Sheffield and able to descend the long-winding roads to Derbyshire. There I went to see the latest artist “Harp and a Monkey” to perform for a throng of rapt Derbyshire people at the “Village Folk” session in the The Lawns Hotel, Chellaston. Continuing to draw crowds and some distinctive guests (Sam Kelly and the Lost Boys next) it is an honest pleasure to have travelled to see a great venue and lovely bunch of people that are really doing things right. Furthermore, they will once again be at Derby Folk Festival this year (as will I); so if you get a chance (and can get a ticket) get yourselves down to Chellaston, site here and to the Derby Folk Festival, (see here).
On this day it was “Harp and a Monkey”. Before the gig, I cannot say I had heard their musical repertoire before, the name conjures images of either the most exotic folk group or a children’s book that encourages the shyest of animals to take up an instrument (it is more the former, but someone should write the latter!) There seemed a lot of bustle before the performance; social media and conversations seemed to revolve largely in excitement around their anticipated rendition of “The Molecatcher” (Roud 1052) largely associated with Bernard Wrigley (with an awesome singular voice). On reflection, this was indeed well justified; but before we get to the heart of historic infidelity and why wronging people in dangerous professions is a bad idea for your health (and pocket), let me talk more about Harp and a Monkey.
Dressed as if going to find the Mancunian equivalent of the Haggis creature they cut a rather interesting sight. Lancashire with a capital “L” they are rather good ambassadors for the county, it is pleasing to hear songs around local industry and history, and they have found an eclectic way of telling these stories. Lead singer, Martin Purdy reminds me an awful lot of Christopher Eccleston. Perhaps if he weren’t playing a tune and singing he would be method acting as the guy who is soon going to unleash all crazy hell on some poor soul. As it happens he was rather more collected and (as per his stories on previous feedback from folk veterans) he instead gave his furious intention and movements to the glockenspiel instead of a line of dialogue. He certainly gave his glockenspiel all he’s got; you don’t hear enough glockenspiel really in the general sense of music. Harp and a Monkey do present an awful lot of glockenspiel but all of it welcome and part of the overarching charm is how it’s keys allow us a glimpse into some of the different characters of songs. The last time I heard it being played with great effect was Princess Chelsea’s excellent “Lil’ Golden Book” album and that was 2011 (and it’s not strictly speaking folk), so kudos to the group for this choice. Along with the banjo, guitar and sometimes the aforementioned harp we get a wall of sound that illustrates tragedy (e.g. The Manchester Angel) or even some sweeter sounds (Flanders Shore), and this continues with their addition of electronic sampling and voice. These later inclusions permeate through several songs and give the air an otherworldly feel to the extent that when listening it sounds a bit like the veils of reality have been shaken and you are peeking into a parallel world. This other dimension would be one where mainstream folk went somewhere slightly esoteric in the 80s and never stopped for air to the present day. It is a definitely something to experience, and also something quite evocative.
This is all great stuff, “Harp and a Monkey” use some quietly, elegant application of their instruments throughout which leads to a rather unexpected but solidly authentic capturing of the tone and subject matter of their songs. The idea of folk music that tells stories is always appealing, and “Harp and a Monkey” have a few to tell especially as their set splits across their earlier and later work, as well as songs from their work, “The War Show” taking into song some accounts of the first World War. They do cover a lot of ground be it people’s experiences in the war “The Soldier’s Song” or the heartfelt tribute of “Bowton’s Yard”, a putting to song of Samuel Laycock’s poem about his neighbours at Stalybridge, a textile town. The band’s version of this is quite homely, celebratory and proud; it has a chasing glock, and successfully paints a bird’s-eye view of ordinary people living in a street and their lives. It’s warm vocals and roots in describing community is a great addition to the set. “Pay Day” likewise touches on these themes as it exemplifies the workers laments, “oh no you’ll never know how far you’ll fall, oh you’ll never know how deeps the hole.” Some slightly understated accordion, crisp banjo and accompanying guitar build a nice, slightly jaunty track amongst a set with a reasonable amount of darker material.
Speaking of the dark, “Willow and the Ghost” is a favourite of mine. A song about a ghost sighting and a tragedy is probably as folk as you can get in this musical set and in the genre fully. That being said there is something rather stripped back about it here. It isn’t the arrangement, because the glock, banjo, and guitar are quite a moving storm and when joined with some background samples you could believe that it was a folk turn for “The Human League” (going back to the earlier analogy). Instead it’s main appeal is to do with the content (though it is performed very well too). A song with melancholy, it is itself a spectre as it has the sad visage and a fatal accident within the lyrics, but unlike many songs there doesn’t seem to be a resolution; nothing is learned, someone’s life doesn’t suddenly prove worthwhile, and the skeletons of family history are not laid to rest. I quite like the fact that it is stark and simple in this regard with the lyrics, “there I saw a young girl slip into the deep” and then it turns particularly miserable, “I saw her drown, I saw the dress weigh her down.” It doesn’t let up, “Harp and a Monkey” should not stop writing these songs, that’s for certain.
So as mentioned at the beginning of this page, we have to talk about “The Molecatcher.” Coming with as much menace as you like (and then some more); the band’s take on the cuckold’s reaction to a young man visiting his wife is pretty grey in morals. The harp is eerie, the whole affair sounds like it is wrapped up in a fairytale as much as history, but the type of fairytale where right and wrong has no place. After all, the Molecatcher in the story is in every sense a cuckold, he seems content with the financial recompense and blissful ignorance of what is happening despite the trap setting for the unwitting lover. An old song and one from history showing people at their most complex and morally ambiguous, the group do such a good job with their interpretation with the odd jangle here and a grim turn of voice that somehow casts judgement on the listener as if asking “what is wrong with this scene?” It will clearly ring out in times and years to come with it’s catchy, black nature,”Woe to the day, woe to the wedding vows, woe to the day”. In absolute contrast, the set finished on “Katy’s Twinkly Band.” Conceived following a comment by a young daughter at the pub that the band started playing in they have imagined an upbeat song to match what she called them (the “Twinkly Band.”) Ending on an optimistic, child-like and light note it talks of the sea, the birds and a kaleidoscope of other imagery it sets. Perhaps there is still time, perhaps it is the “Sasha Fierce” to their “Beyonce” but instead with the grittier role being the everyday, and the cheery the other face? Either way a humorous and exceedingly sparkly entry.
Who will like “Harp and a Monkey”?
Fans of history to be sure, my review has barely scratched their works around World War I (and there is a lot of poignancy to be had there).
They are not a standard setup by any stretch of the imagination, but their songs are gloriously steeped in the family and working class to the extent that it takes centre-stage throughout. Furthermore their sound is very needed; folk with some modern influences, but ones that actually draw a lot of emotions that are often neglected in this material through the glockenspiel, harp, and banjo together. When playing the stage becomes like a kind of human echo chamber, it is how you’d imagine people’s stories travelling across space and between the stars, there is a certain beauty in the darkness and “Harp and a Monkey” has found it.
Check out their webpage here, if you are interested in upcoming Village Folk gigs, please go to the page here.
See a couple of samples below (the first from the excellent Bury Met). Give them a go- they are on tour too, so check out if they are playing near you!
Hi all, I have had a large number of EPs sent in my direction and have not yet had the pleasure to talk about what I have really enjoyed this fine year, so here we are. As usual with my EP reviews, time and space takes a backseat to my appreciation of what comes through; so it’s all wibbly-wobbly, but no worry!
Whether it came out last week or last year your music is equally due to be gently served (but not viciously skewered) into tasty shish-kebabs, so without additional theatre and setup let me instead dive headfirst into these little musical snapshots that have played through my speakers as of late.
Robert Nottingham is a folk/alternative musician from Manchester. Since his 22 years there he has moved southward and now lives in London, travelling south and from the sounds of it bringing a lot of influences with him. An inventive man his website talks of his use of a self-made instrument setup “The Nottingham Jangler”, a variation on the Suitcase Drum which he uses (with tambourines too) on his guitar case to cover more instrumental bases in his performance. He has one LP under his belt “14&28” (2016) and now returns one year later with a five track EP called “An Unwanted Man”, does it fare as well as his transition to the Capital?
The tracks are characterised by a strong guitar throughout and a nice range of song styles that fall into Nottingham’s musical shopping trolley. It feels very “first-person” and wholeheartedly embraces the people of which the tunes are describing. “Run Like the Wind” seems like the fun-loving evening party-goer, “You Don’t have to Worry” is the irreverent but downtrodden man, and “An Unwanted Man” is an enigmatic sort of person. Each a shade of character; each surrounded by an urban Manchester haze that pounds through the pores of this work in the best possible way.
“Run Like The Wind” is a jovial number. It swings, it rolls down the stairs and sounds like a continental race in minis. The guitar and drums in the tune chase like the heat in a sweltering Scoville-filled curry; there are flashes of other strings too. It is a wonderful, lovable clash of fun. Think of an Ocean Colour Scene song but ramped up, elevated to it’s maximum pace and played over the film In Bruges. Tightly woven but also chaotic the song points at some interesting thought processes behind the writing of this work,giving it meaning and making it a worthwhile listen. The whole disc is well produced on the whole and the sound mixing is really good too. “An Unwanted Man”, the title track, has some great bass and a slightly Britpop soundscape that in it’s melody evokes scenes of wonder and reflection while also being intangible and airy like the 70s. It is hard to pinpoint the track on the disc that highlights the high level of production, but this one comes close.
“Mother” comes with even more psych-reverb on the voice. The guitar is crisp, Nottingham’s voice is expressive like a dark conscience. At first it sounds slightly shamanistic and how you might imagine the call of the Druid through history, but as you listen it creeps into the mind like a perfumed smoke. Sprayed with melancholy and disharmony, a growing sinister shade appears and you wonder if Nottingham is singing about a person in difficult times on the beginning to being a drug addict, “I will be your mother/keep you safe and warm /you feel no pain and suffering and you will be reborn.” Perhaps it is just me seeing the more shadowy undertones, but nevertheless it paints an interesting atmosphere which Nottingham’s EP has in bundles throughout.
Admittedly a surprise to me. Robert Nottingham has a few tricks up his sleeve, and with this offering it seems like he has a few yet to deliver.
Hickory Signals is an immensely balanced outfit. In it’s ranks are Laura Ward (vocals, flute, shruti box), Adam Ronchetti (guitar, percussion), Tom Pryor (violin and strings), Scott Smith (banjo, lap steel guitar), and Debs Stacey (backing vocals). Laura Ward has a delving, free and energetic voice which grasps the words and truly takes possession of them; the instruments dance bringing a natural shine to an interesting indie folk ensemble that feels like it wears the quality of tradition on it’s sleeves.
A stupendous opener, their version of James Joyce’s poem “All Day I Hear The Noise of Waters” belongs as the opening track on a full album, not just an EP. They have taken the magical solemness of the poem and added to it creating a colourful ravine of green and tambourine energy. The steady beat and euphonic flute are at interplay with the mild background drone that sounds like it represents the black heart of mystery in the depths of the poem. Hickory Signals allow this to remain and thus rise from their rendition. It’s pacing is Irish, it’s tone rather fetching and it has a strong, resonating voice that doesn’t let off. It refuses to be chained and is Joycean in beauty through and through, great in every sense of the word.
“Here I am” is a banjo-laden second track. It is fantastic and the backing flute brings an immense dancing joy sounding much like the tune of Miss McLeod’s Reel (a reel close to my heart at the moment). Springy and with a lightness of touch, it also contains some great lyrics, “with my mind’s eye roving, in my next life I’ll be bold and free” that will stir the darkest of souls. There is so much variety in the EP and each song feels in it’s place and yet distinct from each other. Track 6, “Irish Ways” once again changed tack, as it plays like a war-cry with an exceptionally low shout of anguish for the working man. It describes farmers being shot, blood being spilled, and strongly references the Easter Rising of Ireland’s history as it progresses it’s black story. The strings are cutting like barbed wire, the vocals full of regret and the anger of historical memory are enshrined by this affecting and modern written number, a surprise because you could swear it’s an old song. The EP covers a lot of ground as it runs and never seems to slow.
The starkness continues in their version of “Unquiet Grave.” Ward’s voice is at the forefront as it folds outwards; traditional it brings a kind of operatic violin to the mix that washes waves of sadness over you. On listen, it feels like the song is coming from the front of your mind from a close spectral conversation as the vocals come dead centre and buzz in a particularly effective manner. Overall a nice addition and one that sits well amongst traditional renditions, individuals may have varying opinions on how elaborately an artist is allowed to dress up their version of a song but I feel they get this quite right here without over-stepping the mark.
One of the more “folky” of the EPs I have examined this time, undoubtedly one of my favourites too, check out their website and do not miss them.
Released last year, Velvet & Stone’s EP of “The Storm” carries some interesting influences on it’s nautical bomber jacket. Having played at Cambridge and Sidmouth Folk Festivals, and more recently Celtic Connections and Balcony TV (I love Balcony TV), their listeners and popularity are growing. The leading ladies, Lara Snowden (vocals, guitar) and Kathryn Tremlett (violin, piano, vocals) are being supported by new additions Barry Muir (double bass), and Roger Styles (guitar, percussion) which bring a rather heady mix of moods and feelings to their first of two EPs coming this year, this one being “The Storm”.
Like the shifting, amber hues of a fire shared on a cold night, the music triggers a tangible sense of warmth and familiarity from the first track right through to the last (number 6). It is interesting to note though that it is not the familiar heat of complacency or your “go to” hot drink that produces this, it is rather the fire of passion, an alloy of genre heated to make a stronger substance. Take “Fisherman’s Blues” (the first track), it could simply be a love ballad about a sailor and boat coming in and indeed lyrically it sounds that way, “I would walk down by the shore, it was there I met my fishing boy / he was bonny, brave and pure.” There are some affecting and complementary vocal harmonies, but it’s choice of a slightly subdued violin, omnipresent percussion, and some cascading bass that shakes down the spine and makes it stand out. The minnow of a folk song looks more like a pink, heavy tuna on the plate when prepared by Velvet & Stone.
There aren’t any missteps here. The EP is like a fishing net which has caught the whole sea in terms of genre, but performs each influence to it’s character with some lovable skill. “Patchwork” is an indie folk track describing the kinship of two people and their lives together which stands out through it’s strong violin, gentle piano, and an optimistic, voice; “Same Old Record” is a 20’s nightclub number with jazz overtones, a wry look at the theme of a repeating life, being stuck in a rut. The strings darkly mock the subject as well cutting down like a film noire rainstorm. Track 6 “The Storm” sounds like a gusting breeze sweeping Eastern Promise through your speakers. A song seemingly describing inspiration and turbulence you could close your eyes and see a path littered with long flowing red robes in a cherry blossom grove. The Asian instrumentation and hooks are very stirring, imagine the quiet movement of water over stone walls from antiquity and you are someway there.
It can frustrate when a disc tries too much and fails, “The Storm” does anything but. It enjoys itself and relishes it’s wicked arrangement, and most of all, it succeeds . My writing is but a small sample of the quality here.,”The Storm” is a collection of emotions, feelings, and places that reach and touch the soul at numerous points. I don’t want to say any more in case I ruin the experience, I would like to leave a space for the listener to get their hands on the disc and experience the rest firsthand.
Sharon Lazibyrd – “Opium of the Masses”, “What Time is Later?”, and “Not Blue”
Sharon Lazibyrd is an artist from Somerset playing contemporary folk. Currently putting together the tracks for her well named album, “Half Shame and Half Glory” she has released some previews on Bandcamp.
The thing that strikes the most about these songs is that it is a continuum. Illustrating a mind in the midst of collecting and executing some good ideas and inspiration on her path to music making, Lazibyrd has put some effort into realising her dream. There is a lot to like about these trio of song releases (that can be heard on Bandcamp here), “Not Blue” has some impressive backing credentials with Damon and Kate Bridge (Owl in the Sun) and Lukas Drinkwater on instruments; it is these components and an interesting and slightly unusual setup that brings the big kick to the lyrics. The atmosphere and sense of loneliness are created here quite well; the arrangement does show the thought that has been put in. It certainly helps set the scene, though to my tastes Lazibyrd’s voice is not at it’s strongest here. detracting from the overall track. It feels that a little more variety in the register might go some way to alleviating this.
“What time is later?” once again comes together as a good sum of it parts. The piano, Lazyibyrd’s own ukulele, and other strings do a good job of painting an inner mindscape and giving the song a slightly more epic, universal sound like a great ship descending into fog. “Opium of the Masses” highlights Lazibyrd’s voice at it’s best form from these three songs. Quite possibly the best marriage of words, instrument, and voice brings it further towards a song with legs of it’s own. There is a slight tonal shift for the chorus which rather gently conjures images of Karl Marx (the accordion does harken to a sound from lands to the East) as an originator for the phrase and song title too. Part of me longs for the song to go more into this mythology and make it a more political piece, it’s lyrics are quite interesting though , “No-one to talk to just the phone, we’re all sucked in we’re in its’ ‘thrall”, the choice of words once again pointing to good foresight of song structure.
The three track list is a gentle clash of accordion, drum and piano that goes some way towards drawing the listener in. Undoubtedly there is an ear for arrangement and composition as Lazibyrd’s strengths, with more time and reflection I think she will begin to press the silver through the custard skin and into the rich, underbelly of contemporary folk.
Matthew Thomas Thompson – “Bird” and “Carbon Star”
Being part of “BBC Introducing 2017” and reaching the semi finals of the “UK Songwriting Contest of 2016”, Matthew Thomas Thompson has released a few tracks (with some more from his upcoming album, “Songs for Little Boy Wonder” here. From Cambridge (one of my old haunts) Matt hails and approaches the music scene with the presence and allure not unlike a carnival hustler, a folkster with a glint of knowing and observation. This comes in his performance and song writing and brings enough force of character to knock apart my prejudice of sing-songwriters who have nothing interesting to say. As part of this post I wanted to take a quick look at two of his tracks available online on Soundcloud, “Bird” and “Carbon Star”.
Entering with “Bird” there is some pretty free-wheeling, serpentine, and darkly emotional lyrics. Thompson’s voice and subject reaches the onyx depths of the track like a bucket lowered into the cold rinse of a stone well. Simple in structure, Thompson’s sound is a grey worldly mosaic being fit together underneath a thorny bush; pretty and flowing but also prickly. Finding some surprisingly good rhymes such as “ruthless beast” and “geese” (never thought I’d hear that) it is not just entertaining, but also a morally ambiguous work as Thompson sings of the jealous emotion, “strangled like a frightened little bird” in one sentence, and appealing for it to be taken care of in a following lyric. Quick but thoughtful the song is swimming in jealousy, and structurally destructive emotions. It is not an excessively gruesome work though his guitar is like the steel wire of an emotional cage for the subject involved. It is quite an ensnaring track.
“Carbon Star” is something else altogether. An acoustic, urban songwriting rap that describes parts of the life of James Brown “at the height of his fame”, it is a brave and bold subject matter. With some interesting steps, lightly touching guitar and a hint of theatrical villain in it’s pacing, it prowls quite gleefully for all to see much like the man did himself. Quite dizzying in talk, the guitar and drum sing the story of a celebrity circus, of fame and a man moving on the crest of a wave of paranoia. As he announces, “Trust no brother, but me.” you feel and think, and Thompson has opening a door into a place and a character quite successfully.
These two songs alone show a great versatility and that Thompson has some interesting gremlins that are speaking original ideas and songs to him. He is sounding great, these tunes showcase a great promise for his upcoming album.
Having been together as a group for two years, “Honey and the Bear” are folk and roots duo Lucy Sampson (guitar, ukulele, bass, banjo & percussion) and Jon Hart (guitar, bass, mandolin) who have toured around Europe combining some of their previous own works, and interests to produce a rather gentle, timber-fresh sound. Hailing from a number of places at different times such as Suffolk, Cambridgeshire, and Norfolk they have also performed away from the continent and closer to home as part of Ely Folk and Maverick Festival too.
There is some compelling guitar work here in it’s indie folk influence, though for myself the harmonies make all the difference. They are pretty much the cherry in the black forest gateaux of this work. Vivid and emotive, “Wrong Side of Me” is a showcase of the interesting dynamic between the two artists. Hart and Sampson almost go head-to-head to see who has the sweetest voice (I honestly would not know where to lay my money in a bet). Rather than offering vocals that compete with pitch or intonation there is a complimentary almost symbiotic nature to their voices as if they are bringing different views from the same person rather than from a couple in debate,”caught in between, reality and dreams.” Similarly “Pick it Up” boasts some sunny interplay between the two, describing the meeting and joy between two people and it’s transformative power as Hart remarks,”not so long ago I was washed up.” It feels like a man and wife’s thoughts, the joy and comfort of reliance and support, a recollection and awareness of how much better one’s life has become.
If other tracks are honey, “Jack” sounds a bit like the sugary molasses, and Honey & the Bear make some serious rum with this. The song starts almost with an edge of reggae and Western influence, but it truly has the heart of folk music. The guitar covers a nice range of sounds being the predominant sound that is displayed on the song’s sky, and it all keeps a good tempo and your attention while it does. About two minutes in it takes a more traditional turn as the pace changes down a notch and it feels like the relief and warmth of a well-earned rest amongst pine trees, squirrels lightly rapping chesnuts on bark in the background.
A warming, strong vocal duo who I bet bring the love on a live gig, check them out!
Dimbleby successfully reflects a range of feelings and emotions in a decent and also unconventional album that has captured her mind’s eye.
Introduction
Armed without folk instruments as such but with the creative sense of the oldest instrument there is, the voice, Kate Dimbleby explores a musical sound that is more akin to a hawk flying through a tailwind than an acapella dawn chorus that the title Songbirds” first seems to presents to us. The reason is that the dawn chorus is somewhat familiar to people, it is a light awakening and a commonplace universal sound, and Kate Dimbleby’s album in contrast is quite gutsy and makes choices that you might not really come to expect when you put the CD in. This is no bad thing though and this flying hunter’s confidence to individuate is at cirrostratus heights as she flies onward, but she is not alone.
Taking some inspiration and support from Bobby McFerrin from New York, she has chosen a hybrid of voice, technology and loop to pretty much “sing with herself”. It is mixed incredibly well giving the album an air of informality and improvisation with it’s special parliament of voices expressing what she says herself is, “the first [album] which I can regard as entirely me.” Much of the inspiration for the tracks comes from a sense of being “frightened” and taken out of her comfort zone in London and on to Vancouver Island. Swapping urban sprawl and nouse for the wilderness and quietm we hear the theme of uncertainty and fear permeating a few parts of the album. It is fully expressed and realised in the final track, “Song For a Hill”, but along the way it makes a few proud steps in other directions too, not all doom and gloom.
Not just showy confidence, she is also keeping another kind of confidence about the content. Indeed the smile on her face on the artwork cover doesn’t really give anything away, you might in fact be inclined to think she will sing about lost love in the hills or some folk ballad about an ancient trades, but in a thoughtful twist she becomes more like Edward Scissorhands, cutting hedges into giant hands and such-like whilst subverting sing-songwriter suburbia. The album holds together well despite the uncertainty and inconsistency this could bring to proceedings through experimentation and a part of this will be the sensitivity in which the work has been handled. This desire for breaking from what is expected of her does fit the profile of Folkstock Records who celebrate a rich array of women’s voices. As an independent record company who can appreciate and encourage the strength of female creativity, it certainly feels like the artist has been able to make a good match and maintain a lot of creative control over the content. This is all good, but what about the songs?
Songs
“Happy” (number 3) is a great track, whichever way you cut it. Somewhat psychedelic, somewhat funk and gospel, it is a fun, unbridled expression of energy and laughter. Like a cat dancing around when food is put in his bowl, it’s an unapologetic and relatively short experimentation into the simpler side of joy. As the warm feeling itself there is a bit of a (good) rawness here, and serves as one of the better “spontaneous” songs on the album. “Musical boxes”, Dimbleby’s song about individualism and non-judgement, is probably the most fully realised and polished on the disc. Released as a single at the beginning of February it impresses with it’s backing track of slightly muted claps and a few orbiting layers of voice all coming together in a reflective, positive wave. If it were a character, it sounds like a very wise person indeed (or perhaps some kind of thoughtful tree). It feels accomplished, complete and is a good example track for the artist.
“Whatever” (track 7) is another foray into the light. It’s “mmbops” make you think of a barbershop quartet but it is different in that it takes it’s time; sometimes it keeps pace, sometimes it slows to relish what can only be described as the elation emanating between words. Her voice(s) are sunshine like a hot day on the sidewalk in New York city or the feeling of the breeze as it rustles vertically through the spring trees. All-in-all another highlight on the album that grabs the attention. “Love can be easy” is like a lullaby on the coast. You feel a gentle contentment and enjoyment of life, Dimbleby is riding a spark of inspiration as she sits in the middle of the scene with events moving around like a slow carousel. Constructed in a carefree moment, it is the holiday feeling with your responsibilities being distant and out of sight and your family being close. Dimbleby’s voice is gentle and assuring on this song and it works.
“These Things, they will come” is probably the mirror image of “Whatever.” The sun-drenched hues of that song are drained away here as Dimbleby instead wanders a track of introspective blues, perhaps with the exhaustion you feel when the sun burns too much. This makes sense as Dimbleby points it out as a song about pain, loss of identity and joy; inside it is limbo, a disconnection you might get in a deep depression that calls for a soul searching you cannot muster the energy for. The doctor, her sister are telling her the same thing about time being the healer, but the words do not seem to penetrate; the song continues, it’s lamenting chorus of voices click their fingers and the singer sees no end in sight. It sounds very personal, and resonates more than mere feelings that hint at seismic life and perspective changes. As a tune it reminds of the heights of worry being as a brick wall. Whilst simple in appearance, the mortared stones can encase the liveliest of spirits and sap the sense of life from a situation. “Song for a Hill” is like this too, but rather more of an abstract, environmental assault on the senses. A bit trip-hop, it sounds like Portishead having a quiet moment and retreating from the city only to end up in a chilling woodland glen. Dimbelby’s voice in this track is like a vine wrapping around a twisted willow or a crocodile pulling it’s prey into the marsh, it is in the background and springs out when you focus on it. Bellowing water and dripping fire it is quite the fascinating number and towards the end the track it makes you think of a person whose taken a slip in the Peak District, with it’s deathly ebb and other-worldliness as someone’s life hangs in the balance. The darkest of the material here, it’s restrained arrangement is very good you might picture it at a pivotal or sad part of a northern drama on television.
You can tell that she has run free here, she does not have the musician’s unquenched thirst for epic instrumental solos (as there are hardly any instruments), and she seems to be finishing the songs earlier than you might think, opting for economy of message. It is probably a wise, instinctive choice though and has the bonus of showing she has expressed her creativity without becoming self-indulgent. Such as with an album of these idiosyncrasies, it would be nigh impossible to personally connect with each song that you listen to and there were a couple of tracks that did not spark my senses. “Harder than you think” is actually pretty good for a spontaneous walking song, but as an experiment seems more of a miss than a hit for me. “At our best” likewise captures the spirit of a marching song and rolls with some inspiration, but feels much longer than the one minute duration, horses for courses and all that.
As mentioned previously, there is some nice production and a lot of distance is made from Dimbleby’s voice that give it some distinct and interesting sonic layering throughout the album. Fairly unconventional in presentation it is like the film “Inside Out” with it’s collection of imprints, emotions and thoughts that are snatched from the air and made manifest. There is something individual about each track and even if listeners are not fans of the acappella form, they should exercise patience and listen closely as there are few preconceptions that can fully prepare for the contents within. There are a few gems of personal experience that are passed in our direction here and Dimbleby has a charm and honesty that radiates throughout the work.
Kate is appearing at a few places, the album launched on 2nd March, check here for further details, and go to Folkstock Records site to order a CD here for £10
Check out Folkstock’s website for some of the other artists they support, here.
An album of resistance to oppression in armed and peaceful forms. Articulate and personal, it is peppered with tragedy but is in essence celebratory of family and the personalities whose stories are within.
Sound Recording: Jason Emberton, Jonny Dyer
Additional Recording: Timur Dzeytov
Produced: Jason Emberton, Jonny Dyer, Daria Kulesh
Introduction
Daria Kulesh returns following her debut album “Eternal Child”, an album that was bathed with a kind of autobiographical style and promise. A sleek black and pink affair (still love the photography and artwork) it touched on her eastern roots and ventured on a few flights of magical realism and fancy. “Veil folk” might be an appropriate term for the type of music with it’s strongly emotive numbers coupled with some supernatural and historical elements.
On listen it felt as if the veil of reality “has been shaken” somewhat, hence my attempt at genre. Listeners might have also encountered Daria through, of course through the band KARA (where she sings vocals and themes influenced by both Russian and English elements), she does seem to have kept herself busy. In KARA she released the excellent, briny foray into the sea with their last album, “Some Other Shore” see my review here, but this time however she is going solo. I say solo, but she is joined by a prominent roster of artists (too many to mention all) including Jonny Dyer (guitar, piano, bouzouki, accordion, bass), Terry Crouch (classical guitar), Kate Rouse (hammered dulcimer, vocals) and Vicki Swan (myckelharpas, Scottish smallpipes, flute) who along with others bring enough instruments to satisfy even the mildly curious listener. With several tools and sounds that I have heard before (and some that I have not), the artist has pulled together a large army of melody to convey her personal message. Kudos should be given for the breadth of sounds considered and the inclusion of instruments from Ingushetia, the focus place of this album (a Dakchan pandar, anyone?) “Long Lost Home” is not just a trek into a faraway land but also a ramble into the living memory of tradition and customs.
History
So the culture and history in question is centred around Ingushetia, a republic in Russia’s south. In the background of the album there are some major historical and political events that shape the stories within, including the deportation of the Ingush and Chechens by Stalin in 1944, and also war crimes of the time.”Long Lost Home” is capturing the past and also is a personal theme as Ingushetia was the homeland of Daria’s Grandmother, Fatima Akhireva. She experienced the tides of history, issues of exile from their home and a lot of hardship in her life; it might be considered enough to stop here but Kulesh goes further back to collect stories that her Grandmother had from generations before, quite a fear. Kulesh wants to explain and remember what has happened, but equally importantly it is her chance to show a few glimpses of the powerful, stalwart personalities in her family and how they have weathered difficult times.
For a subject it is pretty intense stuff but also fascinating from the perspective of someone not knowing the smallest bit about this part of the world and it’s histories. It is natural to think that the times we live in are the worse they ever have been (if you are a pessimist of course), but albums like this are quite useful in reminding us of harder circumstances and oppression. From the album artwork we can see the artist has fully immersed herself into the sounds and sights of this ancient homeland. Kulesh travelled to Ingushetia to gather the stories and in the sleeve we see her in the traditional dress of fine deep blue. There are also photographs of family and characters that help us put faces to deeds quite effectively, it is quite beautiful in this regard. So how is this communicated by the songs within?
Songs
In the opening track “Tamara” there is a deep sense of the album arising; the song fills the senses with the sounds of the shruti box like a serpent waiting to strike. Like the wind scaling the jagged rocks and heights, it is the track which most resembles her previous work of taking myths and legends and giving them a classical treatment. In the song her Grandmother’s ancestral village and the ruined tower stand at the centre of a storm torn vista of shivering antiquity and wonder; the percussion rattles and jingles giving it an otherworldly air and Kulesh’s voice furrows a winding and enticing path. The tribal drums sounding drums here give “Long Lost Home” an almost spectral opening to an album, looking back the furthest of the songs and setting the scene for the human stories within.
“The Moon and The Pilot” is either the most well-known of Daria’s songs to anyone reading this or it will soon to be to new listeners. Previewed in various formats between this and her last album release it has had some coverage (and with good reason). Telling the story of her Great Grandmother Diba Posheva (the Moon) and her husband of the sky (Rashid Akhriev, a pilot who is killed delivering supplies in 1942 to Leningrad) it teaches that heroic deeds are not always recognised, and even when they are as here, circumstance and the world can step in and at the drop of a hat lead to a catastrophic change. Akhriev was due to named a hero, but Stalin then declared the Ingushetia people as “enemies of the people” (despite fighting against Hitler). A lyrically simple song but the piano is quite captivating and Kulesh’s voice reaches for the very vestibules of the soul, “Shine my moon, your face made of light. Let down the your hair, black as the night”. It dances like the queen of night under a halo of glittering crystal and stardust. An excellent track indeed.
Track five, “The Hazel Tree” is a great song that harkens back to the artist’s Grandmother’s Grandmother. It is strength of the album that as it trails back along the earlier paths of Daria’s family tree it makes you think of your own history, the stories within and the strength among one’s own kin. It seems like it must have been a series of big discoveries for Kulesh when curating these narratives. An upbeat song, the guitar work on this album is energetic with the “Hazel Tree” of the title seeming so close and full of radiating life despite the words pointing towards the tree being a final burying place for the subject, “You lived again, and blossomed and bore sweet fruit.” It sure is a spirit affirming number, its sense of wisdom, humility and resilience in the person described shines in plain sight through this song, making it an essential listen on the album.
Not only is there resilience, but also resistance. “The Panther” (Track 7) about Laisat Baisarova, a sniper and officer who went vigilante in protest against orders to deport and kill her own people. There are some good lyrics here, Kulesh reveres The Panther’s power and rebellion in the face of injustice, “An Amazon doesn’t serve. In an army of slaves,” and her voice lingers and dances around the classical strings quite elegantly. The defiance of this interesting woman burns within the song like a fire nestled against cold, snow-buried stones. Characterful, Daria’s voice has a slight snarl to start and then becomes light and compassionate as the song (uncharacteristic for folk) develops into a positive ending with her never being captured and possibly becoming of less renown because of it. An inspirational character and a pointer to strength of noble conviction.
Other songs that point to Kulesh’s pride in the people and the place include, “Safely Wed” is certainly a balmy, rich, heady song in celebration of an “Auntie Nina” and a Matriarch exercising some prudent wisdom with family affairs and “Like a God”, an urban, gladiatorial wonder of a song with the main character Alaudin (a doctor) fighting against Stalin and a cut-throat world of bandits with the steel of his scalpel, “leading them a merry dance, on a floor of snow and blood.” There is steel in these notes, there is iron in these words but as shown, it is not always shaped into a gun.
Folk fans who like a more classical voice, a respect and inclusion of cultural instruments, and a sense of family will instantly love this album. It is a personal concept album in the most part, Kulesh does actually move away from the core concept for a track or two (“Untangle my Bones” and “Gone” being the main examples”) but they are needed, they show an artist who is trying to convey what the sum of her research and experiences have triggered in herself. In sound arrangement it is musing, capturing the minds eye as it races to the East in search of mystery and a strong, personal album that moves slightly away from Kulesh’s magical realist music and more into biography and history. Kulesh’s voice soars as always in the beguiling way that it does and the result we get is an album which is simple speaking an artefact. It gives voice to people who have faced what life has thrown at them and continued to fight back either through their deeds or their respect and love of family.
Give it a go, the album is launched 23 February at Cecil Sharpe House (see here), and the album will be available shortly after, keep an eye on Daria’s website here.
Daria is also on tour, go here for her upcoming tour dates, see if she is touring near you!
During a brief hiatus to the excessively cold weather last month, I had the pleasure of heading down to Chellaston in Derbyshire for a gig at the Lawns Hotel to see Merrymaker.
High over the street like a small fortress on top of a rocky outcrop; the Lawns Hotel is indeed a hotel (and pub) that has a partnership with a rather pioneering and friendly organisation called Village Folk. Village Folk is a family (not just in saying, there are family working together here) who host an evening a month with a band or folk artist to bring a little entertainment and heart to the local area. I came across both the band (Merrymaker) and organisers (Village Folk) last year at Derby Folk Festival and situated within the Clubrooms they did a great job continuing the tour de force of Derby known as Winter:Wilson (see their site here). Introducing some newer and lesser known groups and giving them a chance to shine they were a great companion to the main acts in the square and more than the added bonus of being out of the heavy rain that weekend.
Relatively new to the organisation of live music, Village Folk are doing exceptionally well. They are getting good attendance and in a time of uncertainty around the viability of live music they are also attracting some recognisable and influential names to their midst (e.g. Sam Kelly soon and Martin Carthy in a couple of months), but it would not work if they were not lovely people with some serious love of the events that they are showcasing. Not a huge venue and also not a folk club; it manages to combine the good running and sound quality of the former with the intimacy of the latter, and it does it well. I certainly have my fingers crossed that they will have an involvement in Derby Folk Festival this coming year! What about the gig?
The great urban sprawl of my my younger years always comes racing back when I hear the dulcet tones of Dan Sealey (vocals, guitar) and Adam Barry (keyboard and others) with their West Midlands swagger, a series of sights and sounds never really seen or heard in my now native Yorkshire (much to it’s loss). They were joined by Nikki Petherick (whose accent is a direct contrast, perhaps sounding like an Inspector Morse extra) and Hannah (whose surname they could not decide upon) who brought additional guitar and violin respectively. In terms of a general sound, Merrymaker are a kind of entertaining scattering of folk with large elements of acoustic rock, which proves a good foundation for an interesting night out and it makes sense as Dan heralds from 90s rock outfit, Ocean Colour Scene. They have a boyish charm too on stage which is offset to some degree by Nikki giving as good as she gets in retaliation to the guys banter. The recent addition of violin is a boon too as Hannah’s classical training brings an extra dimension to Merrymaker’s more guitar heavy numbers whilst also having the potential to bring back the urban rock sound of the 90’s if needed. How would I describe Merrymaker’s songs?
Their songs are much like their stage presence in that they often come with a high dose of humour and/or self-deprecation (Adam spent a large amount of the gig concerned with his “fresh from the laundy-but-not-yet-dry trousers” that he apologised for wafting into the audience). This all creates a good environment for their slightly political angle as they performed songs with a focus on Donald Trump (which they played a rather 60’s pop “Coming Up Trumps” that they described as “a stupidly stupid song for a stupid person”) and another about the Syrian Refugee crisis which they curated from comments on Twitter “Nobody Here Wants a War.” With videos of these song posted online they show a versatility in form to their songwriting. The Trump song is indeed “a stupidly stupid song” but it is so good at being it, “Nobody here Wants a War” is more solemn but really well worked from the source material. Merrymaker’s music as a result has a bit of a bite, but rather than the deeper laceration from a jackal it is more like a nip from a well-meaning Brittany spaniel. And while the present world is too much for some, the band also delved into some nostalgia which was to be had from the Ocean Colour Scene days with a slower paced version of “The Riverboat Song” (admittedly not my favourite re-envisioning), and the Stranglers’ “Duchess” (quite good indeed).
However they go about things, there is always some sunshine and comedy too. “Midst of Summertime” is a song from their time as the band Merrymouth and it is played in earnest with a really a cheerful, leaping in the rays kind of quality. Once again the violin in it’s live state lifted the track even higher; making it a heather-tinged song that leads to quite a smile. Some might say it makes one exceedingly “merry”. The biggest laughs come from a song about a man having to do chores on a Sunday (because he doesn’t mind what he and his wife does all day, when the amber glow of ale is at the back of his mind) which goes down really well the audience alongside “This is England”, a comedic song with some sober thoughts within. A song about the attitudes of their local pub regular, Roy, who at 88 is miserable and bemused in equal measure by the changes that have happened in society it paints a hilarious but empathic picture of a person that everybody knows.
The band unapologetically have fun throughout and this helped by their setlist that combines their political leanings and observations, but also the everyday without a Poe-face to be seen.
A great venue, a caring and passionate organisation and a fun, relatable band amount to a good night out. Check out Village Folk’s website for some great upcoming artists here, and for more information about Merrymaker, click here.
Almond&Olive deliver an earnest and lyrically intriguing debut with a strong character and rapport in voice
Having released this debut last Friday (27th January 2017), artists Almond&Olive that consists of Natalie Alms (Almond) and Ollie Davidson (Olive) are no longer standing at the precipice but have taken a good look and lept over to meet whatever fate is on the other side. From the production, lyrics and delivery on this album, it seems like it will be a trampoline that should help them reach even higher than the mountain they started from.
A pairing which is undoubtedly sweeter than the foodstuff mix (though I think someone will probably try it), they are a curious couple of artists together and individually doing a lot of good for charity (particularly animal charities) and their characters come through in the photography, it certainly does not look like an exercise in ego. This is just as well as the tables have turned the other way and impressively this debut has had pledged $10,000 in just 30 days of Kickstarter, and the duo will be donating some of the proceeds to animal shelter charities (see their website here for more information). Surely there must be something more than appearances and vivid photography that has got people excited to hear from them, making them stand out above other Indie Folk efforts (of which there are many)?
At first glance and listen without attention, it cannot really be the themes within the album. Not to say there is anything bad in choice but relationships are a well-ridden path in Indie Folk (its probably the equivalent of songs about maidens from history in regular folk of which I’ve heard an awful lot of). But with an album such as this, which takes a lot of these issues and looks at them in earnest (and sometimes considering older love) it makes “Standing at the Precipice” sound like a well-spring as it bursts a layer of burning sand and sienna scorched rocks. It is strongly situated in youth and makes no bones about dedicating the whole album to this broad theme making it an album that speaks to those in the throes of passion, but not exclusively so. Sometimes it’s more excited, sometimes more sombre like a hint of heat delirium, it does what it sets out to do very well; there is something more here. Throughout there is an interesting dynamic of the duo,’s voices, the tracks have a varied instrumentation that fits each song accordingly, and the lyrics themselves sparkle the strongest amongst all these elements. The album has an overall feeling of being upbeat and interesting without being cocky about it, there is certainly some good, humble musicianship here to be enjoyed and admired. What about the tracks?
The first track, “We Will” is a delicate, dustbowl of a track. Melodic and catching it boasts some great instrumentation from the get go with it’s subtle banjo building into a much larger and incredibly appealing soundscape of big drum, brass, guitar and fiddle. An optimistic track that looks to two people spending their lives together, Alms’ voice is sweet with an expressive edge, a bit like buttercream which is soft and slightly grainy in all the best ways. The pacing of the track is kept with a familiar drumming and enhanced by the other musical sections; it has some fairly simple, but clear lyrics,”I will feel your heart, I will know where to start on my search.. to carry you home.” It is contentment in a song really, you can picture two older people toasting their lives and acknowledging a love that does not need to be spoken or the reasoning kind of love which imagines and pictures a practical partnership. A good opener which continues.
The second track, “Standing at the Precipice” wastes no time building momentum from the first track. It is full of primal sounds with a scraping guitar and a shrill harmonica bringing the slight menace of risk from hurt when in love. The imagery is rather shattering imagery as it describes this scene of emotional uncertainty in lavish and welcome detail. There are some nice cryptic lyrics too, “now the sky is getting darker, the books don’t ever explain what were looking to find,” I particularly love the small touches with this track such as the “whoops”, and the emotional yearning from the vocals.
Other songs that deserve a special measure are “Can’t Stop” which has a strong bassline, along with a precise steel guitar that rolls with heat through heat through cactus adorned sandscapes. The lyrics are particularly reaching and poetic on this track, “I won’t break like a diamond in the rough, I can never have enough.. I won’t break for you” and there is a splash of a number of synth/keyboard interjections that breathe even more life into a quick number. A crowd teaser it is one of the more optimistic of the tracks on the album it will doubtlessly be a popular number on live nights.”Nadine” is another standout track. Having a change in pace there a slower drum with an excellent interplay of voices with Ollie (Olive) seemingly taking a larger role, “Nadine.. this song was a dream.. could have fooled me.” It is beautifully solemn as it explores people splitting and going their separate ways. When listening it is quite a heart-tugging number as it effectively drags up your own memories of “almost loves” and partners past to parade for your minds eye. Time does not feel like the healer in the song, but rather like a cruel needle suturing a wound which in the end might recover but hurts so much along the way.
Track 7 “Long Night” is also pretty special track with it being part a welcome song, an invite to someone’s hearth, home, and life. It gives off a kind of musky heat,”welcome me to a bed of no clothes” which Alms’ voice is like a reluctant carnality, it makes the heart race and engulfs you in what is happening. It stands at opposite to “Heartbeat” the final track. “Heartbeart” is instructional, either as someone’s conscience or as one friend to another it says that “nobody owns your heart”. The arrangement is slightly sparser giving the song to breathe a little bit more than some of the busier tracks on the album. The fiddle is essential and it’s coolness is a nice way to end the series of songs and experiences felt along the way.
Well arranged and sounding really polished for a debut album, this disc has more than a shade of Americana thrown into it’s Indie Folk mix though it takes a hard Cadillac left to avoid Stateside cliche. It instead goes for an attack of the lyrical and outshines a lot of the competition with it’s well-crafted words and an interesting interplay and rapport in voice. Like the snakes of the Hippocratic oath symbol, their voices unfurl and meet together bringing their own styles to play. They resonate with one another in a way that grabs your attention and convinces you of the strength of their work away from the corn sepia photography and modern dress, their depth is there to see beyond a mere polished surface.
Give them a try, a nice debut and an album 150 backers certainly aren’t wrong about!
breathless, the gentle breeze and sun of Spring. The brass takes on a life of it’s own and the nautical interludes are truly exquisite, “dance to the rhythm of the marching band, dance to the coming of the dawn” (probably my favourite track from the new album). “Mary and the Soldier” was another track from the new album, one of most expressively old-world numbers sounding like it is running through a forest of expressive accordion and deep, longing song (a song Dylan and others had recorded in the past). The most committed song to the idea of folk on the album, it is folky jazz at it’s best; if they were children stealing biscuits from the biscuit barrel they would leave no trace, likewise here folk is combined with their jazz instrument leanings in a seamless way.
