Category: Acoustic

Derby Folk Festival – A Roundup – October 2017

Post author By blueestai
Post date 21st January 2018
No Comments on Derby Folk Festival – A Roundup – October 2017

Hi everyone. Quite a bit of time has passed since my last festival post and as the cold sets in to it’s fullest we have snow as far as the eye can see (well it is here). Before the hot rays return I wanted to bring you a roundup of some of the things that we saw at Derby Folk Festival a few months back (ESPECIALLY AS THE LINEUP FOR 2018 is looking pretty colossal!)

Derby is quite a central place and relatively easy to get to, so we do enjoy travelling down and seeing what is happening.

For those who have not managed to get there yet, it is a friendly festival wit venues that aren’t too far from each other, and always a good and varied lineup across the range of Folk genres and popularity. We think in all ways it gets the balance good for an inner-city festival). There is also ceilidh, often some dance workshop and plenty of public displays too that make it a fun few days.

Thinking about Derby Folk Festival, the first rather small (but important) point to note is the Main Marquee. Every year its a sight to see. It’s a big space sitting in the very heart of Derby’s art quarter which ends up weathering an potential weather storms at the quite late time of year. In 2016, the rain fell and got everywhere. Let us say the Marquee seemed to take a bit of a battering and the Gods seemed displeased. This year the Marquee is reinforced, looks a lot more solid like a great metal tree awaiting the harshest of elements. Unfortunately (or fortunately) the weather didn’t come so it wasn’t put to the test. It still looked great though.

Another thing about the festival is there is plenty to see, some cool food vans, many great bands and the lovely yearly addition of Adverse Camber (more on them later). Apologies if you or your band are not mentioned below, we have taken a chance to highlight some of the lesser-known artists this year. The rest of you, I will catch up with you shortly I am sure!

So.. lets get to the music! Rather than go day-by-day, let me point out some of the great stuff that springs to mind that I would recommend and makes the festival special.

Rusty Shackle

A young folk bicep of a group flexing their musical muscles, “Rusty Shackle” is an energetic start to the festival. From Wales, the groups comes across as a sometimes understated indie voice, sometimes a fine mirror to Billie Joe Armstrong; either way they have an incredibly broad range. One minute it is the broad anthem of “King Creole”, a song of self worry and ruin, the next it is a surprising medley of numbers including the wonder of “Touch My Bum” (The Cheeky Girls) which got a few nods of recognition. They certainly have a sense of humour too, and it is this fresh-faced, joy and fun that make them a very good gateway to folk for a young crowd; they are a veritable folk aperitif. Other fast and melodic numbers include the quite sweet number “3AM” with a welcome bit of banjo riffing, the denser more urban and expansive “When the Morning Comes”, and a personal favourite “Down to the Valley” that reminds of the best of 80s pop in a direct collision with Show of Hands at the top of their game.

It is all a sweet sound indeed with electric guitar, fiddle, banjo and drums and trumpet laying down spritley, rocking and seriously entertaining set of tunes you should check out. They are also a pretty industrious bunch being on an extensive tour so see their website and perhaps check them out here.

The Rheingan Sisters

A duo of artists that spring to mind the Rheingan Sisters’. We see one of their sets (they actually have two different sets over the festival), and are on very good form,

Fantastic as always with excellent fiddle technicality and songs of evocative soundscapes, we caught them as they were trialling some new material much of which revolved around French bal music and other influences from the region. They did “Cuckoo” from their “Already Home” album as well and this was rich and deep as ever. This allows us to lose ourselves in the ballroom amongst the party of strings. One of their new numbers took us into the depths of forests, in a sweeping and glorious portrayal of environmental destruction, and this was our favourite. Epic and contained like a jack-in-the-box, the Rheingans continue to impress and make a mark. We are just a little dismayed we did not catch their full set (our fault, nowhere elses). Details of their projects can be found here.

Adverse Camber – Dreaming The Nightfield

Burning brightly from a number of past intriguing shows, Adverse Camber return to Derby Folk Festival with performance, story and song about the old book of tales written in Middle Welsh, the Mabinogi. We have seen them on more than one occasion and the fire is still there in their performances. It is quite a treat to see something drawing on old history and myths from our own isles, and I am saying this absolutely loving the older shows from Persia (the Shahnameh show the other year) and their more Nordic sagas.

It is a warming experience for Derby to let the Storytelling in, after all stories and myth aren’t everyone’s cup of tea. Whichever side one falls on, here it certainly adds to the variety of what is on show and delivers a quieter (but not too much!), individual first night at the festival. It is quite a sensory, word-spinning reflection of a show and as such it brings a different kind of wonder to the corner of the Guildhall for a night.

Telling some stories of the fair and just lord of Gwnedd, Math fab Mathonwy, Pryderi the lord of Dyfed, a magician (Gwydion), heroes (Lleu Llaw Gyffes) and a woman made of flowers (Blodeuwedd) there are lots of enchanting tales, and as with many stories from history; usually a moral involved (especially with Blodeuwedd). The wonders keep coming.Whether it is (literally) magic mushrooms transforming into golden shields, a plot involving the theft of especially tasty pigs or (my personal favourite) the part where the great lord transforms his son into a series of animals (and learns the creatures’ natures) there is a lot to digest, and like a fine stew more the better for it. The three storytellers Stacey Blythe, Lynne Denman, and Michael Harvey all have their time to shine as musicians and singers in turn with Michael Harvey taking the lead with recounting the stories. The music is stirring and the stage evolves alongside the story which is a pretty special thing to see.

What happens is that throughout the show the cast carry and assemble of series of sticks in what at first seems like a kind of sculpture maze, but it becomes apparent that it is forming the aspects of the stories so the sticks are representing either creatures, mountains or even dead soldiers. The movement of the sticks actually grounds the play and connects the artists to the environment, the touch of dynamism is welcome and it is intriguing to see how the sticks assemble together and actually balance. It is a pleasure to see the company’s continued creative use of set pieces in their shows.

Alongside Naomi Wilds (producer) they have put together a close to home, wondrous series of stories that will leave you wanting more of the magic and more of the myth from those rainy, misty Welsh valleys. We heartily recommend, as of the time of writing there are two more dates coming early 2018 for the show if you can make them, have a look here.

Robyn Johnson

Robyn Johnson joins a (growing) list of female acoustic musicians this year who are convincing me that you do not necessarily need a full band to create a good variety of songs and feelings. Admittedly and embarrassingly at time we at FP find solo guitar acoustic artists a little wanting and numbing. Of course there are always exceptions, and this is not knocking guitars of any shape or size, we just require more convincing. Let us say however that this year we have come to out senses a little bit more on this issue.

Under the banner of Village Folk (excellent hosts in and and out of the Derby Folk Festival, see here), Robyn emerges riding a midnight blues train that has a few folk-town stops along the way. Johnson played some delightfully understated and rhythmic entries such as “Say it with wine”, a lyrically break-dancing tune that wears a bit of a Country and Western hat. Sweet and vulnerable it probes modern living and anxieties in what is an essential piece of acoustic listening. There is also the exploratory, evocative “midnight ramble” which Johnson plays to warmed up, appreciative and rapt audience. Midnight Ramble has particular interest due to it being written about the characterful characters and experiences gathered while the inner town of Derby late on a Friday night, it has everything “Gypsies selling roses”, propositioning men, and a swirling blues ambience.

“Plastic Bag Fairy” is a demonstration of Johnson’s excellent acoustic guitar times and tones; as the first song she wrote it is interesting to see how it contrasts with the rest of her set. Slightly more optimistic and sunny, it shows the good in people who have little to live on. Ending on “Pour Me” is the striking of a match to a can of gasoline as a finisher that refuses to take things slowly.

An intriguing addition to Derby Folk. Worthy and in a way delightfully low-key, her songwriting left an impression with us. Check out her Mixcloud of recordings here.

Kim Lowings and the Greenwood Band

Pretty much the highlight for us and several others at the festival, Kim Lowings and the Greenwood Band had been on our cards for a good while, but we hadn’t seen them live until now.

The band has a good sound and a nice range of instruments. Lowings herself has a distinctive and clear voice and it was all enhanced by the Guildhall’s acoustics. The joyful thing about Lowings and the Greenwood is that they have a playful aura which they cast on to several oldies giving them continued leases of life. Their version of “The Cuckoo” was rather special, and their take on “Oh the Wind and Rain” leaves you wanting more.

We do not want to go into too much detail here, except to say they are an entertaining and rich sound experience, and that for you should check out our other blogpost here about their latest album “Wild & Wicked Youth” here. Take a look at Kim Lowings and the Greenwood’s site here.

Kirsty Merryn

Kirsty Merryn was a very welcome addition.

Recently basking in the sunshine from her debut album “She & I” (it is very, very good) she had a chance to perform in Derby Cathedral to an attentive audience. Performing her numbers solo without band accompaniment, Merryn brought a touch of class. At one point she was brought a bouquet of flowers (this has happened a lot while we have been on the road recently), adding even more colour to her flourishing, piano led set. Some songs she shared included ghostly tale “Without Grace” about Grace and William Darling and a tall lighthouse, “The Birds of May” had a strong stillness to it’s sound, like a pagoda next to a small pond of bright koi. This was a general theme and feeling throughout the set; Merryn provokes with a powerful front and a quiet strength that shatters aggravating noises around. She is a fantastic role model in this regard that men and women could look to equally. She also previewed a love song to the sea that she was working on which was exciting to hear. Usually she is the support for Show of Hands, and in a way she is a perfect foil to their louder more anthem-fuelled sounds. They both share a sense of wonder in people and musically approach their reflections on them from different angles.

Like Kim Edgar but earlier in furrowing her own path, Kirsty Merryn is on an upward trajectory. Check out the video below, her website here and keep tuning in for more writing about her in the near future.

Oka Vanga

Oka Vanga are another group for which we have been acquainted with for a while. We reviewed their latest album, “Dance of the Copper Trail” and found it, “An incredibly listenable album that is tightly managed and has a pretty rich, consistent sound” here, Suffice to say they did not disappoint in person either. Playing some material from their EP, as well as some other acoustic wonders (bolstered by some great double bass) like “The Devil’s Tide,” an exciting, interesting song about a female pirate.

Hosted by live music aficionados, “Village Folk.” they brought a Western charm with their tales of birds, trains and magical trees. The set was punctuated by a heartfelt and warm few songs by Dave Sudbury. He sang “The King of Rome”, and we cried a lot. Fantastic to see him and the friendly reception that he got with the generous applause and acknowledgement. Here is Oka Vanga’s website.

There were many big names at Derby too including Show of Hands, Oysterband, Roberts & Lakeman, and Leveret too which were fabulous to hear while we were moving from place to place. The schedule is enormous, detailed and leaves you with choices to make but in the best possible way.

“Derby Folk is good value, convenient and friendly with good systems for putting the audience close up to both big and upcoming stars of the folk and roots circuit.”

This trend of encouraging this myriad of folk names continues for 2018 as some due to be attending include: Lady Maisery, Eliza Carthy and the Wayward Band, Sam Kelly & The Lost Boys and many, many more. The tickets are available here and more information about the Festival as a whole here,

This coming year the festival will be running from 4-7 October 2018.

There will be an extra concert on the Thursday compared to previous years (see the site for details).

Tags 2017, Derby, derby folk festival, Derbyshire, Festival, folk, kim lowings, kirsty merryn, Oka Vanga, pr, robyn johnson, rusty shackle, Village Folk

Acoustic Album/EP Reviews Blues Folk Music Trad Covers

Bella Gaffney- Heaven Knows – Album Review

Post author By blueestai
Post date 8th January 2018
No Comments on Bella Gaffney- Heaven Knows – Album Review

Album: Heaven Knows

With: Bella Gaffney (Vocals and guitars, concertina, and more)

Lauren Deakin Davies (Bass guitar, keys and percussion)

Nick Hall (Backing vocals and lead guitar)

Tim Spencer (Drums)

Chris Elliott (Fiddle)

Heather Sirret (Bass Guitar)

James Gaffney (Piano)

Tracks: 11

Produced by: Lauren Deakin Davies

FOLKSTOCK RECORDS – Released July 2017

“A folk-blues charmer of an album, Heaven Knows is the wonder of biting into a Wispa and realising it’s a Wispa Gold”

PICK OF THE ALBUM: “Grandma’s House”

From the expertise of Folkstock Records and wordful mind Bella Gaffney comes a new album of acoustic delight. The joy of Folkstock is that it is rather skilled at representing an awesome range of female (and sometimes male) voices to the folk world and recognising artist talent that others might miss. Not only this, they work with these artists to bring the magic out and in doing so promote musicians with a unique sparkle that doesn’t follow a prescribed definition of folk music. Gaffney certainly has her own shine; if she was coming to your party she would wear her folk music like a bright and colourful flower on her shirt but not without a cool, slightly worn Blues Brothers trilby too. These images and sounds compliment better than the description might make out, they certainly do in her song style.

Bella can be found somewhere between Bradford and York though this year she has been on a well-received tour of clubs and festivals (we had the pleasure of seeing her in Hebden Bridge in 2017). As an artist on a journey, how was her album release?

“Heaven Knows” is not only a crisp, veritable slice of humble and capable songwriting; it serves as a reminder that unlike the cooking of al-dente spaghetti, everything doesn’t have to be thrown at the kitchen tiles (recording process) in an attempt to make something stick (in that time honoured way I was taught to cook pasta). On paper there are a lot of instruments here ranging from concertina to fiddle, bass guitar, piano and more but everything is in it’s right place. It is the difference between putting a seashell to your ear to hear the sea and sitting in a Ferrari with the sounds of waves vol 2 playing through the stereo at max. There is a conciseness to the selection of instruments, it is beautifully orderly like the musical equivalent of the KonMarie Method.

Looking at the tracks there is joy all around and, like the best cheeseboard, enough variety to mean you are not leaving your seat anytime soon.

“I am the tide” (Track 2) and track 3, “After the fall” are in the order they are a rather neat set of stages in a relationships: adoration (track 2), and then a break-up number (track 3). “I am the tide” is a self-proclaimed love song with a “big folk ballad feel.” This is definitely not far off the mark. Starting gentle like lapping waves at the shore there is a folky-ache in Gaffney proclamations that strikes like an aggravated cobra as she hangs on the words .”After the fall” is even better. It has some notably refined lyrics as Gaffney laments and expresses several cutting metaphors of disappointment, “strip me down, use me up, wash me clean, with your tears from the flood.” The guitar cuts down like sheets of rain in the storm of this track, the voice rises like dry ice. Another good song.

When it comes to covers, Gaffney’s version of “Cocaine” is as dedicated, characterful and hazy a cover that can be asked for. It is dark Americana in a disused alleyway, it is a sharp intake of breath contrasted with the frosty exhalation of winter air during the late end of Autumn. The song is what it says on the tin, the thought and experience of the drug,”cocaine is all running round my brain.” More lingering than John Martyn’s original it has a slower bite. It deservedly calls for your attention with it’s minor harmony creating a nice accompany to the main singer’s smouldering dark lullaby and a tragic but addictive tone. Gaffney has embraced the song and the era bringing all the delightful wonders of the age with her, her voice shines as it rises and falls in a marvellous addition to the album.

“Grandma’s House” is not alone on the CD in being a relatively quiet and introspective powerhouse of a song. It is based on the true life story heart-warming tale of a grandmother in Greece who takes in a whole family of refugees who don’t speak her language. It is a great song on many levels, the addition of concertina, low backing vocals and some fiddle alongside Gaffney’s venerating and sweet voice builds a picture of a song of pure empathy and power. This kind of songwriting reminds of the best of other artists like Louise Jordan and her recent World War concept album. As Jordan does, Gaffney celebrates kindness in a hallowed, rich hush that many artists strive for and she hits on the head. This is quite possibly the best song on the album with it’s ability to paint a picture of the coast, it’s heart-wrenching fiddle work and ability to replay through your brain through your working day. A very good track.

Out of the ten tracks on the album, for us the only track that doesn’t shine as much as the others for us is Gaffney’s version of “Gallows Pole.” It has her signature thoughtful approach and is sung well (Gaffney’s voice doesn’t faulter at all through the life of the disc). It’s stylings are closer the more modern Willie Watson’s version rather than Odetta or the rockier Led Zeppelin cover leaving it with a less pacey and urgent character than we prefer on this track. It has some measure of reflection to it, it just doesn’t quite hit the mark though I have heard her sing this very, very well live. As well, if it did resemble a hard rock track it would be out of place amongst

It is a lean album. It is muscled like Mo Farah rather than Charles Atlas as the CD definitely is geared for distance rather than brute strength and there are some fine tracks on the CD. Gaffney has some good songwriting skills that she brings to the table here. She makes it look easy as she does her sprint for glory following an excellent year of songwriting and performance, as a growing recognised artist she is certainly coming into her own.

Check out Bella’s website to have a little listen to some of the tracks here, or check out the sample video below!

The CD is available to buy from Folkstock Records here.

Tags Acoustic, album, bella gaffney, Blues, folkstock records, heaven knows, Review

Acoustic British Gigs Political PR Traditional

Martin Carthy at Village Folk, Chellaston, Derbyshire – April 2017

Post author By blueestai
Post date 5th June 2017
No Comments on Martin Carthy at Village Folk, Chellaston, Derbyshire – April 2017

Village Folk – http://www.villagefolk.org/

In my past posts about Village Folk I have alluded to the venue (The Lawns Hotel) in Chellaston being very much like a fortress.

On reconsideration, it may in fact be more like a castle. Whatever your mythological leanings and interests one thing for certain is that within English music Martin Carthy is a wizard. Not a pinball wizard, not quite Gandalf or Merlin, but certainly a folk wizard of some sorts who lives and breathes the music he plays. You could also call him a bard as he is also an example of a widely touring artist often on the road, and at many fine establishments.

In April we see ourselves back at Village Folk to see Martin Carthy for what can only be described as the most recognisable act they’ve had to date. I don’t know anyone (outside of indie folk, anyway) who would not know who Martin Carthy is and his part within the jigsaw of acoustic music and history really. With 50 years of performance under his belt in a number of high-profile lineups and a Radio 2 Lifetime Award he is not really a guy who flies under the radar, but on the other hand he is as much a man as any other with an air graciousness and a down-to-earth personality. He fits well with the warm reception that Village Folk brings and it seems that the audience agree. Seats are packed closely, the venue sells out quickly and the action begins.

Taking the stage for the latest, big-name show (joining some excellent previous acts such as Sam Kelly, Harp and a Monkey too) tonight it seems especially the case that there is an understanding and a knowing nod that Martin Carthy is as big as an act as you can get; everyone is incredibly excited. He is a leading figure in the folk tradition; if the country had a hall of folk heroes with statues and everything (it might do, I don’t know), Carthy would be there in Marble, tall and proud with his head turned as he tunes his acoustic guitar for the next beguiling rendition. On a personal level Martin Carthy always interests too. The joy I get from stories;how they are told, collected and adapted is a hallmark of Carthy’s talent, and I take great interest in how he collects and interprets what he hears. He is a stellar example of reproducing and adding to folk songs but also adapting and taking great pleasure from what he does. As far beyond the hobbyist as you can imagine, he is fully aware of his efforts to change the meaning, context and life of a song and put his indomitable spin on it. A wizard he truly is as he resides in a world of tales, half-truths, history and lore that through history are whispered from mother to son and father to daughter. You cannot help but be dragged in by the atmosphere and wonder. What does Martin Carthy play?

He specialises in older songs, ones with a bit of legs to it that have been in our oral tradition for a long time. Nothing is quite as old-time and brimming with powerful energy as the deliberate and honoring “John Barleycorn”. It could be a very old song indeed, it could be much more recent than you think; opinion differs just as it does about the theme of the song. It could be a song about the death and resurrection of the Corn King or maybe just about brewing. Either way Carthy’s take has the sound of a song from history and quite unlike the modern age. His fingers strumming an ancient tone, his voice is like the village elder who keeps the law and keeps the community safe; all eyes point to the stage as Carthy explains the song a little. Even more intricate guitar work is seen in the militant, cyclic rhythms of “Downfall of Paris” another song from antiquity, but perhaps easier to confirm as a historical piece as it was played in the battlefield of Napolean’s armies. Carthy continues to tirelessly hold up these traditions and keep their fires alive and burning through the the arteries of the country. It is thankful he stopped a while in the centre, as some consider the Midlands where the heart is. Quite hypnotic and a sound to behold, his music is something else.

I am especially pleased to hear Carthy’s version of “My Son John” which was performed under the “Imagined Village” super-group a few years back. One of the first takes of a folk song I ever heard, Carthy’s quiet emotion and spinning, melodic fingers coupled with the sharp political lyrics of the time is for me a distinct political and personal memory that is awakened. As a reimagining and contemporary take on the aforementioned John” who loses his legs at war into the (relatively) modern soldier who steps on a min in Afghanistan, it still has a punch that is only enhanced by a richer, more varied and extended set of lyrics. Another favourite of mine that he performs is “A Stitch in Time” (Mike Waterson’s song). Explaining it’s origins in Hull and the Daily Mail he interests and stokes the curiosity by telling us it is not the “urban legend” we may think it is, and is very much real. In short, the wife of a not too pleasant man gets her revenge on his physical manner by stitching him to his bed while he sleeps.. the kind of thought of that could wake you with a cold sweat in the middle of the night. I’ve heard Lucy Ward’s cover which slows things down a little and adds the malice to proceedings; it is especially good to hear Martin Carthy sing it as the dry narrator, gently mocking the man and celebrating this folk-horror retribution with his expressive voice.

There were these and many, many more songs too such as traditional “Green Broom” and “Long John” too (who is especially tall and disliked by the King) with a number of narrative avenues that are visited throughout the course of the set. Telling stories as he re-tunes his guitar between songs (no rack of guitars in sight) and glows under the pale lights of one of Derbyshire’s most intimate venues, and the crowd loves him. A man with much to share and with a love for the genre that is rarely equalled he continues to cast a spell on the folk world.

Martin Carthy is indeed continuing to tour the UK both at larger venues and Folk Clubs, see details here.

Tags Chellaston, Derbyshire, folk, martin carthy, song writing, Village Folk

Acoustic Gigs Historical

Hannah Martin & Phillip Henry – Music in the Dark – Derby Gaol 11th May 2017

Post author By blueestai
Post date 25th May 2017
No Comments on Hannah Martin & Phillip Henry – Music in the Dark – Derby Gaol 11th May 2017

As part of their “Out of the Ordinary Tour”, Hannah Martin and Phillip Henry are bringing their particular brand of folk to the unusual, historical and downright spooky buildings of the UK. At this leg of the tour I have managed to catch them as they arrive at Derby Gaol; a working, historical museum. From the outside looks like a kind of medieval fort, inside a dungeon shrouded in darkness, the walk up is particularly interesting as in the groups there is a collection of equipment both of execution and pain. It is usually host to it’s own brand of entertainment in the city but for this night only it hosts the aforementioned duo famous for winning a Radio 2’s folk award for “Best Duo” in 2014, playing a show at the Royal Albert Hall (with Show of Hands in 2012) and with producing an array of well-received albums through the years. It is a nice touch to add a bigger air of wonder to your works by performing in these spaces, it brings the history of folk music a little closer to now.

The gaol has been bought by a paranormal investigator and ghost hunter (Richard Fenix) and has hosted a number of local folk nights over the years, perhaps on a quiet night when the air is still and the crows at bay, you can hear the rattle of chains and the anguish of a musician trying to tune his banjo in the dark. As the shady door-keep eyes the customers coming in he carefully opens bottles of Hobgoblin Gold to pass onward as we sit at tables with themed Gothic candle holders, a skeletons hand held upwards. Guitars are lined up monstrously next to dark figures down the dimly lit corridor, one cannot tell if it is a singer or a prop? The ambience is startling. As everyone is seated we find the duo arrive under the cover of half darkness; we huddle near the coal fire making the night even more special as it spits large chunks of coal and ash against the fire guard throughout the set.

Fans of Hannah Martin and Phillip Henry will attest that I would not have needed any sorcery to appreciate and understand their songs from history, though many of those subjects do touch on the dark and seething underbelly of humanity (some fine folk staples). A combination of interesting instrument setups and changes, and the duo’s crystal-like vocals ensure that there is something quite interesting to hear and with a nice degree of variety.

Prior to this show I had only caught snippets of their pretty extensive work even with my best listening efforts, for someone like me “Out of the Ordinary” is the kind of tour that appears to be the “best of” tour in that it covers a lot of ground and is a fantastic catch up. Acolytes of the pair will also appreciate a reasonable amount of new tunes (maybe 3-4) in the set that they are taking out into the dark (around 2-4 songs). So by all means, their best work is not behind them.

So there is a great mix of older works and newer tunes. “The Last Broadcast” was a lap guitar garden dance in paradise. Following on from Henry’s wry consideration of the number of strings and exactly how many of them would be precisely tuned for the occasion we get a more upbeat numbers. It takes it’s time, waving Asian silks as it goes, showing Henry’s early musical influences in India to their best. For this song it is more a dungeon in Delhi than Derby, but it is excellent stuff. Also there’s the expansive and dynamic reworking of a Morris track, “The Cuckoos Nest” (they figure it could no longer be a Morris track as it had been slowed down a fair bit) leading into “Old Adam The Poacher.” Some lovely vocals alongside guitar and banjo accompaniment, if it is indeed a Morris track putting on the brakes has allowed it’s more winding, evocative nature to come out.

As mentioned, the gig is a good opportunity to catch some newer tracks in development for their next album “EdgeLarks”. “Signpost” was an interesting one. Written in Tasmania by Hannah Martin it highlights the worst pangs of homesickness while you are awash with the blues, “15 miles from paradise… 95 miles from nowhere else.” Looking at the kindness of strangers and losing oneself in a strange place, it is good modern fodder for a folk inspection. “Albatross” is a special track too. Described as a “happy” track, maybe a bright and tangy pickle within a cheese sandwich of cheese, “Albatross” is the duo’s self-proclaimed revival song they penned to explain the endangered nature of these birds (and also folk musicians!). Martin’s voice is a deep, hushed and undulating song that revels in it’s gentleness, “may the winds of the earth, guide your little boat.” A ditty that smells of fresh breeze and sea salt, it has an understated starkness, so if you like that kind of thing and you like your folk to revealed by the bright, bright sun; this song is for you. This track is available exclusive downloadable number, I find it nestled in the folds of the incredibly practical tea-towel they have for selling.

Proficient with multiple guitar, banjo, fiddle and voice; the biggest surprise was probably the foot-operated shruti box and also the performance of “Train; I wanna boogie.” It’s extensively layered time keeping with the beat, and quick pace is an explosion on the harmonica. I have heard songs in different sets that try to recreate the train experience (off the top of my head, “Steamchicken” do this) but very few capture the subtle intonations of the steam train, it’s moving wheels and the klaxon. I’m still not quite sure how Phillip Henry does it, I did not really get a view of him playing the harmonica so for all I know there might have been an actual train on the stage behind that pillar! As with the venue, some things are better kept as mysteries!

An interesting evening and a good showcase of work to date, performances in these places of dark history do get the mind turning and throw in another element to music; it enhances an already selection of songs. Hannah and Phillip share a strength of purpose, some really discerning lyrics and sharp vocals as well as an army of instruments that change throughout the set. An enjoyable evening, a nice idea, head along if they are touring near you.

To check out the spooky locations of their music, check out the website here. There are still a few dates left and a library tour after that.

http://www.philliphenryandhannahmartin.co.uk/shows.php

Tags 2017, edgelarks, hannah martin, out of the ordinary, phillip henry, tour

Acoustic Festival

Folk Amongst the Mills and Stone – Hebden Bridge Folk Roots Festival 2017

Post author By blueestai
Post date 19th May 2017
No Comments on Folk Amongst the Mills and Stone – Hebden Bridge Folk Roots Festival 2017

Hello fellow folk enthusiast.

It is true that everybody has heard of Cambridge Folk Festival, and Cropredy Festival, and why not? After all, they are big festivals with International renown and very good lineups.

Certainly fun times are had (I would love to get myself to one of the ones in Ibiza/Portgual) but there still is indeed room for a different type of scene too now that festival season is upon us!

Hebden Bridge Folk Roots fits the bill as something different. It’s picturesque, full of crafts and nestled amongst rolling nature and inspiration and come festival season it is packing to the brim with musicians and artists in local pubs and venues waiting to entertain.

It is over now, but have a read of some of the people we saw (with sample video) and see if you would you might not be missing out on next year!

Hebden Bridge is picturesque and I have fond memories of the region as I used to live in nearby Huddersfield. Artistic yet surprisingly not aloof in the slightest, it is is good to see a place where so many of the trades here have opened up to host musicians. Some of the artists are from local regions (such as Plant and Taylor, Plumhall) but there are more nationally recognised acts too like O’Hooley and Tidow and Jess Morgan.

Hebden Bridge Folk Roots is a wonderful festival showcasing an array of talented musicians and performers (several who are local). It is all so good-natured, it feels like the people and businesses of Hebden Bridge have opened their doors and their hearts visitors in this weekend of artistic wonder. The place itself is great; I love the greenery and the atmosphere, and that there’s a lot of places to get good gin and food while you listen to someone you have been wanting to see in the flesh.

It’s not just folk and food though. There was also a good helping of storytelling events, family friendly events, and dance workshops that appeal across the board. From everything that takes place, I only see a small sample; so apologies for people missed out of this post.

What caught the eye? What acts am I taking away from this West Yorkshire painting of a place with it’s stream, trees and beautiful cut stone buildings?

Read on and you will see, there are a lot of bands and artists I was ready to hear but others that surprised and have now entered my musical radar.

Bric-A-Brac/Bella Gaffney

https://youtu.be/VO3Z6pDH9SA

Playing in one of the main venues (the Birchcliffe Centre) the group Bric-a-Brac take the stage and showcase a potent blend of interesting original work and energetic interpretations of some folk classics. Being the highest capacity venue, it was good to go there (and take the regular, free minibus up the incredibly steep slope to the venue) and an honour to hear a future face of folk

Bric-a-Brac’s (along with member. Bella Gaffney’s solo) sets were astonishingly playful and fun, and quite polished. Singing some great songs rooted in history and wonder, I feel they are a group to keep an eye on for the future. They sing a number of tracks including “Queen of the Witch Elm”, a song about a mysterious skeleton found in a tree and the group’s musing on it’s origin. The ballad has a bouncing narrative that lends huge mystery to the topic of the song and their collection of instruments join together in a really pleasing way. “Staffordshire Man” is a classic West Midlands number which the band present in a bright and sightly way. The addition of the whistle gives it a more contemporary character (especially compared to the Jon Raven version) and with it’s blended male and female vocals it sounds great. It sounds less like it is dwelling in somewhere like the grounds of the Black Country Museum and instead brings the feeling of nature meeting industry in the middle, not unlike the historical town of Hebden Bridge itself. It is still pretty folky and even with these lighter touches is a great song. “Middle of Nowhere” about a “dodgy B&B” is an equally fun that showcased fiddle, whistle and guitar together. I love the addition of the electric bass guitar, it gives the band even more depth and Heather Sirrel clearly relishes the role as it rolls out wave after wave of gravelly, rock goodness.

From the bands I had not heard of all seen before, Bric-a-Brac top my list at Hebden for their choice of instruments, combined sound and historical themes. They even sung a song about a family living in a cave in Kinver, a place down the road from my hometown. Their different regional influences add flavour to the mix, for myself they are a great young ambassador for the commitment of young folk with a slight Midlands edge. http://www.bricabracmusic.co.uk/

https://www.youtube.com/watch?v=A-yAYDND4MI

Of course there is also Bella Gaffney’s solo set. When she is not playing guitars and adding some cool vocals to Bric-a-Brac, she is playing her own music really well indeed. What stands out from Bella’s set is the amount of range that she gets out of the acoustic guitar. Thoroughly practised and tied up in a folky way to Bradford, she is to Bradford what Lucy Ward is to Derby, a singer and performer who could be a face for the region. A lovely set which as you listen to you realise there is something distinctly non-run-of-the-mill about her, check out the sample. http://bellagaffney.weebly.com/

Klonk!

https://youtu.be/eHQBpQyzV00

We also catch a bit of the “Klonk!” set. A klezmer group with more electric instruments than I’ve seen one room before, they go to work quickly getting the audience on their feet. Playing in “The Trades Club”, a kind of musical enclave which feels like a place where musical history is made must be great because the room is setup so as much dancing can take place as possible. I spot one older man was so pumped he was moving (and falling) before the music even started. Klezmer music gets the heart pounding, it seems true and it’s rhythms are the strong thread wound throughout all modern music. It certainly appeals to the soul and the body and Klonk!’s music is energetic, gypsy-jazz that short-circuits your compulsion to sit and shakes your quiet sensibilities to the core. Highly recommended the speed that they play is breath-taking, a treat in every way; they also take on the “James Bond Theme” and “Rage Against the Machine”. Their website is here- http://www.klonk.co.uk/

Jess Morgan and the Light Band

Recognised roots singer Jess Morgan also treads the stage and performs a loaded pistol of tracks from her recent album “Edison Gloriette” An emotive, and licquorice voice she brings the beating heart of the subject matter to the surface. “A Hundred Years Old” sees Morgan showcasing some solid strumming and a pained, humble and sensitive portrayal of a woman in a kind of limbo between how her hearts feels and how she should act, maybe in the latter stages of a relationship. “Don’t meet your heroes” has a fascinating kind of stepped melody and delivery that is like the steely stare on a wise face; she doesn’t take any nonsense in this song. “In Brooklyn” is a favourite. With the child-like imagination fully interacting with the urban, and the idea of one or two lives mixed up in that time and place seemed to find a way is captured without obviously referencing New York. I mean there is seemingly talk of the carousel in Central Park, and I can picture the library in Brooklyn but it is like an insider’s recollection; it takes me back to my own trips there with it’s kind of drenching sun and nostalgia. It is good to see her at last. http://www.jessmorgan.co.uk/

O’Hooley and Tidow

https://youtu.be/IBWla1e4rWk

They were nominated for the Radio 2 Folk Awards this year. No, they did not win but this injustice did not deflate their affable, impeccably warm show at Hebden Bridge. It would be an understatement to say they did not disappoint.

With a bright halo of showmanship and a springy step of enthusiasm, O’Hooley and Tidow’s begin their set with one of my favourites, “The Cut” and my enthusiasm did not stop there, it only went skyward. The music is infused with a screaming piano cabaret that is glamourous from tip-to-toe and certainly an interesting bedfellow with their reverence for Yorkshire. We are treated to a number of their songs that take on the task of publically celebrating women and sharing some dashing personalities we would otherwise would not hear of. “Gentleman Jack” a raucsous number that was as bawdy as the character herself. With lyrics such as, “Their husbands are coming, you’d better start running For nobody likes a Jack-the-Lass” you’ve got to admire the duo’s penchance for bringing exceptional characters through their song be it scounderels or saints. It is kind of a folky alternative to similarly themed song “Doctor James” by Gilmore & Roberts which hopefully through time will be part of a larger body of songs rewriting history books. They also perform “Beryl”, about the multi-award winning cyclist (Beryl Burton) who from the 50’s onwards was pretty much unbeaten in a number of competitive categories but compared to her male sports counterparts was barely a footnote in history.

It was not all songs about amazing women though. There were also songs about beer. Murphy’s Saloon (a much less crude version than variations I have frequented) and their version of “All For My Grog” are well received with the effective and jaunty melody in a bit of a squeeze box interlude from their limited edition work “summat’s brewin'” about English drinking. The tour of their music continues with a song written for their wedding “Big, small love” from Kathryn Williams as well as sad elephant song “Blanket”, and national identity seeking “Made in England”. A bit like a pickle tray in a curry house there is a lot to choose from yet it all goes with the evening (of poppadoms?)

A rich, comprehensive set of many of their hits you feel there are no songs left out at all. Just the two performers, their instruments and the curtains drawn close, the scene is set for a showstopping headline act. http://ohooleyandtidow.com/

Other Bands

https://www.youtube.com/watch?v=PsAaNpDtPCs

The Mather Robinson Band played a quite retro folk sounding set that didn’t hold back, Rod Clements brought some quiet nuance to the afternoon with songs such as “the ghost in blue suede shoes” and popular “Meet me on the corner”.

https://youtu.be/lyVuvWIi1ls

Fine guitar work from Plant and Taylor is pretty entrancing and other duo, Plumhall are quite affecting in their highlight- a rendition of “Cold Harbour” from their upcoming album.

Other Stuff

Storytelling

I love a good story, the creepier the better. Thankfully this wish was taken care of during the afternoon on Saturday at the Festival.

There is not too much to say about the Ghost Walk at the festival, except that it was great. Ursula Holden-Gill took a small crowd through the streets and bustle of Hebden Bridge centre, and despite the traffic and large number of people about, it still proved an intimate and interesting way to spend the time as modernity melted away. Great for the family, her stories are quite ghastly in places but there were are some (slightly) lighter references to Robin Hood and much of Hebden Bridge’s quite sordid past. Fully in character she entertained all, there is something rather special about seeing so many younger children paying attention and being taken in by the horror stories of yesteryear. I recommend whether during festival season or not, Holden-Gill spins a good yarn and thankfully errs on the side of the fantastical with her stories. The best female storyteller we have seen to date. http://www.ursulaholdengill.com/

https://youtu.be/BHaSltA6iDY

A mild interlude to the strings of musical gigs, sessions and storytelling taking place, even the streets themselves could not fully contain the full extent of talent on display. Even me, a bit of a Morris sceptic enjoyed quite a bit of dance in the centre (400 Roses were tops for me with their alt-morris look and fantastic coloured and braided hair), but that was not all. How long it has been since I’ve seen a one-man band I cannot say, but this combination of music and dance is something else. A head-turner and one of the most popular displays.

It is a fun weekend, an enormous array of musicians and a relaxed yet professional festival there seems something quite timeless about the place.

Lots of love going this way, I recommend taking the quieter path next year and seeing what the fuss is about here.

Keep an eye on the website for next year’s festival where there are “Super Early Bird” Tickets already https://www.hebdenfolkroots.org/

Tags bella gaffney, bric-a-brac, Festival, Folk Roots, Hebden Bridge, jess morgan, Klonk, live music, mather robinson band, o'hooley & tidow, plant & taylor, Rod Clements, ursula holden-gill

Acoustic Blues Gigs

Andy Whitehouse & Guests at The Heeley Institute, Sheffield – Album Launch 24th March 2017

Post author By blueestai
Post date 18th April 2017
No Comments on Andy Whitehouse & Guests at The Heeley Institute, Sheffield – Album Launch 24th March 2017

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.

https://youtu.be/dtVcoNfwme0

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.

https://youtu.be/T1kbDtTo3dk

“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.

https://youtu.be/Ge_N2C-vXKo

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.

Tags album launch, Almost Home, Andy Whitehouse, Blues, Heeley Institute, live music, Sheffield, The Silver Darlings

Acoustic Album/EP Reviews

EP Megapost #1- Nottingham, Signals, Velvet&Stone, Lazibyrd, Thompson, Honey&TheBear 2017

Post author By blueestai
Post date 14th March 2017
No Comments on EP Megapost #1- Nottingham, Signals, Velvet&Stone, Lazibyrd, Thompson, Honey&TheBear 2017

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 – An Unwanted Man EP

www.robertnottingham.com

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 – Noise in the Waters – EP

http://hickorysignals.com

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.

https://youtu.be/bY8Z5e-7DrU

Velvet & Stone – The Storm EP

www.velvetstonemusic.com

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”

https://sharonlazibyrd.bandcamp.com/

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”

https://soundcloud.com/mattthomasthompson

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.

Honey & the Bear – About Time Too EP

www.honeyandthebear.co.uk

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!

Tags About Time Too, An Unwanted Man, Bird, Carbon Star, Hickory Signals, Honey&TheBear, Matthew Thomas Thompson, Noise in the Waters, Not Blue, Opium of the Masses, Robert Nottingham, Sharon Lazibyrd, The Storm, Velvet&Stone, What Time is Later

Acoustic Gigs Political

Merrymaker at Village Folk, Chellaston 28th January 2017

Post author By blueestai
Post date 20th February 2017
No Comments on Merrymaker at Village Folk, Chellaston 28th January 2017

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.

https://youtu.be/6C_1etMwBos

Tags Acoustic, Chellaston, gig, live, Merrymaker, rock, Village Folk

Acoustic Album/EP Reviews Folk Music

Look Back: Saskia G-M “Gentle Heart” (review)

Post author By blueestai
Post date 8th December 2016
No Comments on Look Back: Saskia G-M “Gentle Heart” (review)

This is a “Look Back” post, one that brings an older review (from shedancesinthemind.blogspot.com) here to my new website.

Since my writing in early 2016, Saskia Griffiths-Moore has continued to grow with a series of concerts and some well-shot covers of some well-known tracks on her Youtube channel here.

“Gentle Heart” is seriously an album that you might have missed this year, but shouldn’t have. Check out my writing and the video below!

An unabashed genre-hopping album that balances light with dark in a spiritually precise manner and a strong leading voice.

Some albums are like the snow-topped mountains of Asia, full of ancient mystery which might be a little unusual or less accessible to the everyday tourist but nevertheless has a solid following and interest, especially for those who have walked those paths. They push out finding new cliques of knowledge to bring back and impress; others are closer to home, seeking simpler wonders and the joys of snapping branches in the local woods, building their tents amongst their mates with a focus on the warm feeling rather than a physical and mystifying experience.

At a beginning listen to you Saskia Griffiths-Moore’s debut album “Gentle Heart” you would be fully under the impression that it follows the warmer, straightforward approach to music making, but this is a misreading of the use of the word “gentle” in the album’s title. For the artist’s intentions here we find that the core of what she is trying to convey is both the affable warmth of beginnings but also the trying to understand the simplicity of death; “gentle heart” here fosters both creative and destructive forces in equal measure. Sometimes it seems more light-hearted, but it is quite deep and even in the bouncier numbers there is often a reference to change and the end of a good life. There is a lot that the album does well, especially Saskia’s voice itself in contrast to the arrangements. If we look at the influences of it’s production next, it is no surprise that the album strives for this kind of balanced exploration of feeling that is has and succeeds.

Saskia Griffiths-Moore is a relative newcomer to the music scene but she has made some splashes along the way. She has been named as Bristol’s “number 1 folk artist” through the new artist-friendly ReverbNation (for four months running) and has been on BBC Radio Gloucestershire promoting her music too. The album is produced by Robert N. Neil, a musician whose experiences in publishing alongside Ashley Kozak (who was involved with Brian Epstein and Donovan) and his own albums of instrumental healing (and previous meeting with famous guru, Swami Satchidananda) does bring to the disc the aforementioned yin and yang, and a sense of harmony to the music. The focus is uncluttered which leads to an album which is self-described as “underproduced”, but doesn’t suffer for it and in many occasions transcends the simplicity of the arrangement and message being given (in particular track 3, “Call on Spring”). The rather spiritual ethos of the producer is not overly channelled by Saskia’s vocal talents, but rather through it’s cleanness, clarity and arrangement of tracks to create a piece of music which fits somewhere between genres. There are elements of the acoustic, folk, country, jazz, pop, and singer-songwriter categories and for a debut album is all the better for it as it casts a thread of tenderness throughout it’s tracks that provide easy-listening for the audience but with lyrical interest to be something more.

The Tracks

1. In Time
2. Are you Listening?
3. Call on Spring
4. Take My Hand
5. Gentle Heart
6. Wash it Away
7. In the Garden
8. Blue Shade
9. The Presence
10. Be Not Afraid to Die

“In Time” (track 1) is an authoritative-accordion number complete with wisdom, a plethora of chord scratching, and a catchy, simple chorus. Saskia’s voice is quite striking in it’s identity, it bears a strong mid-range much like many several artists at least ten years her senior (she’s in her early 20’s), The lyrics are quite nice too, “of all of my friends, some faces I will see again, and some aren’t around anymore.. but that is a natural law”, they make a mark early on. There is a good presence in this track which relies on the theme of an older person coaching younger members of the family about what they have learnt. It is quite primal and feels like it has hardly been distilled from the experiences that have led to it’s conception and has an air of acceptance of what will be. It is wise-sounding, and slightly cheerfully sung though its words are hinting at themes that will appear later in the album (like a kind of trailer for what is to come). It is an accomplished first track on the album, the chorus is simple yet the repetition of the title throughout with Saskia’s different emphases shows a delightfully clear voice no matter what she is doing with it.

Another track to mention is “Call on Spring” (track 3), a song which veers into the very best territories of singer-songwriter lands. It’s slightly baroque, slightly Tori Amos (Boys for Pele era), and slightly pop ballad and stands enormously strong as a great piano lead that is both light and serious. Once again she employs a hook which will probably reel in young and old alike,”call on Spring, call on Spring, sunshine I will bring”. It is penetrating and lethal as a ballad which due to it’s title and feel has more than a slight touch of the Ostara equinox about it with the rising sun burning the frosty dew, and bringing “renewed life”. It is earthy and could be a rework of a song from history if I didn’t know better, Saskia’s voice is inviting, the piano once again strides and is made all the clearer through an uncluttered and clean mix.

“In the Garden” (track 7) brings a dainty jazz backing to the album as a change of scene. It is a song you would imagine on a veranda in the closing parts of the day when the long drinks are being brought out by butlers with immaculate white gloves. There are some playful woodwind interruptions as well and some higher singing notes that hang like stars in a calming and confident diversion from the other genres on the disc. It is slightly dream-like and manages to capture the senses pretty well, and deserves a listen for it’s crossover value. Not being a jazz fan there was a danger that it would not be to my taste, but once again Saskia’s vocals make it more compelling then it could have imagined to have been.

“Wash it Away” (track 6) brings back the accordion in a more extended introduction and then keeps it as a central part of the album throughout. The guitar chords and technique sound a bit more Country, as is the subject matter which describes someone in later life reflecting on what has been, the movement of time and the role of history, “wash it all away like the river in it’s path, moving slow or rushing fast”. It is an example of the theme of the album which looks at things delicately, and has a mellow appraisal of things that have happened. It is incredibly hard to dislike and quite moving in it’s simple reflective voice and modest use of minor harmonies that are included within.

“The Presence” (track 9) is a moodier song that looks at loss and serves as a slightly less literal look at death before track 10 arrives (Be Not Afraid to Die). It is introspective and starts incorporating the odd bit of phenomenology into it’s being, describing gazing and “unknowables” and things “gazing back” quite akin to the famous Nietzsche quote that you might have heard (in it’s own way), “out the door I peek into what is not yet know, I set on the edge and feel the Presence”. It is slower, more deliberate, achroamatic and harrowing. Saskia adapts quite well to the downbeat nature of the song and the content, though it would be a much lesser album with songs purely around this theme.

In Conclusion

The album is varied, It feels like there is a whole spectrum of dark and light that spreads throughout the disc that touches on a number of musical styles, each which is visited quite well (the ballad style of track 3 being the apex for me). On the whole, I find her brighter songs marginally better than the more solemn ones (though track 9 is a great philosophical de-construction) but there is not much difference in real terms, the songs are all well constructed and a good showcase of her various talents. For a debut it is quite ambitious, but it accomplishes what it sets out to do and provokes a few thoughts along the way. It’s “gentle” nature is a strength, it touches on the vulnerability of people later in life but also respectfully listens to their advice and continues to intrigue throughout. If there is anything to take away from her music, that is that her voice is incredibly clear and delightful and in many ways ahead of it’s years, she is one to watch for the future, but in the meantime check her album out.

If you want to find out more about Saskia Griffiths-Moore, check out her website here (where you can also get free copies of her EPs).

Saskia’s album launched on 5th February 2016

Tags Acoustic, folk, Review, saskia

Acoustic Album/EP Reviews Scots Singer-Songwriter

EP Post #3 Melanie Crew and James Black

Post author By blueestai
Post date 6th December 2016
No Comments on EP Post #3 Melanie Crew and James Black

As the veil of winter is beginning to fall, I continue to bring news of some Autumn EP releases which I have given some time to listen to.

For my third EP roundup post I will talk about acoustic singer-songwriter, “Melanie Crew” and folksinger “James Black” and they releases in the past months, following a bit of time that has cropped up for me to look back at some unsigned/new artists.
Different in every way that can be conceived; Melanie is a singer-songwriter exploring experiences within a relationship through upbeat melody, James is seeking the dark pediment of modern society through song and spoken word, together they form my exploration of new music in EP Post #3.

Melanie Crew- “Further Away” (EP)

Coming in with a six track EP entitled “Further Away”, Melanie starts with a collection with positivity by exploring emotions within a relationship. In this collection of songs the trials and tribulations of love is considered through series of heartfelt thoughts from one person to another. It would be unrepresentative to say that the disc stays exclusively to this brief, it does take a surprising (and successful) detour in the middle and then plays out the relationship further (sadly without a happy ending).

Balanced and floral, light and balanced; Ross Palmer;s production brings the lyrics to the forefront with a polished sound that in several instances retains a good amount of emotion and longing. “Bring you back” is a great headliner, Crew’s voice shines in it’s conveyance of trust and support, possibly to a friend or partner who has gone astray, “when it seems like no one else is around, I will bring you back. I’ll take you home.” A song which goes for sweetness, it is a quiet love ballad to the extent that even the drums seem slightly hushed and the guitar a series of strums of faithful affection. With a slight feeling of yesteryear it is a gentle boil, a simmering stock of emotions. “A Hundred Words” is interesting in that it is the most accessible of tracks here and is quite catchy though hasn’t fully reached for a song hook. Upbeat and warm, it is still a nice addition. “Parade” is similar but a little bit more Country in sound and execution. There is a clean mix of vocal harmonies and the song feels like it is beginning to use the pacing and inspiration of the genre. Though it probably could go further in this regard, it hits the mark more than the previous track due to it’s sensitive and gentle nature. Crew then makes a right turn for her third track “Ghost” before returning back to the musical crossroads.

In “Ghost” there is a spooky atmosphere both in terms of vocals and delivery. The double bass (Colin Somerville) is just one element that brings the haunting; Melanie’s own backing vocals are also chilling, and her main vocal performance is quite fragile and vivid. It is definitely the best vocal showcase she makes on this collection. I love the darker themes in folk, so it might just be my own sensibilities but this track seems the strongest. I can’t say if it’s the icy instrumentation or the wildly diverging, rising and falling voice that brings the amazing chills, but it is the strongest track here by quite a margin. The final track, “Can’t find a way” at first glance differs from the established main narrative as it does not seem as overtly romantic, but actually it is part of the broader arc of being in a relationship and the process of a breakup that is occurring. This track is also quite powerful in that it does a good job of grounding the level of turmoil and confusion that happens at the end. It offers some interesting spaces to explore and leaves the tracks on a high.

For a small production, it has a nice balanced sound. There are some odd scratches, but it all plays and feels fairly rich in delivery.

As mentioned, for myself the strongest elements here are where Crew goes off theme and there are some glimmers of the unknown such as the lyrics, “what would you do, if you couldn’t run?” Fans of acoustic music that explores relationships might be tempted to give this a go, it does not offer something exclusively new but there is is some good early exploration of lyric writing and meaning here, and there is not much fault with the performance.

Why not not give the tracks a go, the EP is free to listen to and download on Bandcamp?

http://melaniecrew.bandcamp.com/

James Black – “Days of Self Pity/Goldmine Blues” (EP)

Next I turn to James Black, a musician with two tracks he has released on SoundCloud.

Following the large waves of gun crime and identity politics that have come to the fore in 2016; James Black, a traditional Scots and Jacobite ballads musician has waded into the foreground with the self-penned song, “Days of Self Pity” and the rather poetical “Goldmine Blues.”

There is a lot to like about this. First there is Black’s voice itself with is like a rather Celtic Dylan/Guthrie with his winding, spoken word recital,”all our heroes are dying, they are falling like flies, even the heroes of myth were mocked and despised.” There are some nice turn-of-phrases peppered throughout and the simple acoustic accompaniment gains strength from it’s 60’s sound, and this is clearly no coincidence. Black observes, and as he does he calls out the “enforcement” of human rights in our current information age berating, the hard, blunt side of equality rather than the soft, nurturing heart of what the term means. From it’s sound, it is as if the 60’s is looking and judging the age we are in, unhappy with what it sees.

It is more than rustic charm. If starkness, is it’s strength then “Goldmine Blues” is a serpent waiting to strike.

“Goldmine Blues” continues the musician’s love of form and words. Much like the reaction when you clear away the mould that is spreading through the tangerines in your fruitbowl, Black describes a broken society and local neighbourhood and how it co-exists. Once again, Black is quite a wordsmith and hits the mark at a number of interesting places, here describing just one subsection of society:

“the children of Oliver Reed and Richard Burton swallowing existence with every swallow of black bitter”

His acerbic denouncements aren’t just limited to those managing the dark drink, “hipsters” also run scurrying from his eye in his growing catalogue of spotted hypocricy as well as “trust fund drop-outs with voices like Golem.” It spills like creative bilge water and if “Days of Self Pity” is the song of disappointment, “Goldmine Blues” is the pain of a sex tourist being trampled on by muggers in the early afternoon heat. The joy in listening is the youthful voice, the voice that wishes to tear down in anger. It might not be for everyone’s taste, but the wordplay here is pretty good reminding of Irvine Welsh at most turns.

If you fancy something raw and quite inspired, head over to Jame Black’s page on Soundcloud, or click below.

Tags Acoustic, bandcamp, ep, soundcloud, spoken word, unsigned