Category: British

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Album/EP Reviews British Cabaret Energetic Folk Music Folk Stories Historical Myths Trad Covers

Kathryn Roberts & Sean Lakeman – Personae (2018) Album Review

“Sharp, witty and accomplished there is a class to Roberts & Lakeman’s new album that cannot be measured on any known scientific apparatus”

Album: Personae

Producer: Sean Lakeman

Tracks: 10

Iscream Music Records (2018)

Released 9th March 2018

Kathryn Roberts & Sean Lakeman are indeed a famous duo. Maybe the best known in folk circles due to the two well-deserved wins for “Best Duo” at the Radio 2 Folk Awards. People always presume that the difficulty in fame and music is in the ascent, but surely Lords and Ladies have the added pressure of walking their parapets safely once they have been built. Roberts and Lakeman haven’t  installed a hand rail on their high wall though to keep them safe however. They are still dancing, leaning over the outcrop, shouting to the crowd and having a regal ball in plain sight. Their new, fifth album “Personae” is an album of energy showing no lack of original ideas, adventure or showmanship in the realm of fantastical stories.

It all starts with the cover photograph (by Niki Bidgood) which is either an otherworldly rodeo or Roberts is performing a superhero feat of strength with her hips. It is warmly baffling, but in the best possible way. Perhaps as the album is called “personae” it is in the spirit of one “reining” in their outward appearance. The whole scene is like a painting where your eyes cannot be trusted- here you wonder if it is sea or land, it could be either. Whatever the intent, there is a lot of fun to be had here and this definitely spills over to the album. It spills over despite any attempt to keep it contained like a rainbow bucket filled with sparkles.

The CD starts with a belting version of Child Ballad 265, “The Knight’s Ghost”. The duo’s rendition makes it rather a favourite for ourselves. We love traditional and maintaining the way things have been; here the song isn’t just elaborated, it is upgraded.  Like most ballads the advice of the story inside is of mixed quality. It does remind how grief can make us take rash actions (as the main subject begins revenge against those that she thinks have done her husband harm) though maybe in everyday life we cannot rely on our late partner’s ghost pointing out our errors.  For an opener on an album it is a vivacious interpretation that benefits from clear guitar work and emotive, nuanced vocals. It is quite a powerhouse. Sam Kelly’s additional vocals are characterful and fitting. Overall when thinking of the track, going back to the comparison rodeos, this song is much like that the bucking animal who sprints out at the fire of the gun, it bucks and hops and is determined and fierce. A great opener.

Track 3 “Tribute of Hands” is an original fast-paced number that brings some more of the myth to the table. Inspired by the story of the founding of Antwerp the duo have managed to create something as bloodthirsty and grim as any song from the folk song canon, and it fits especially well. Along other tracks, It forms a  backbone of tracks about history; legends with a slight fairytale kick and mischievous attitude that give the CD a fantastical anchor. The woodwind in the middle ramps up the mystery and wonder, it is as much of the song as dry ice is in a Prince music video. It all works very well as it speeds along exuding charm. We need more fantastical stories of this kind being brought to life, though this might mean I would stop reading fairytales.

“The Street of the Cats Who Dance” is our favourite of the quintessential piano-led ballads on the album. At first we thought the song might refer to Istanbul which I believe is heavily linked with cats, but the song actually refers to St. Malo, a town in France. In history the governors had the idea of unleashing hungry dogs at night to enforce a curfew on wrongdoers. Night time curfews and nightwalking in history are fascinating reading (I have a great book to recommend on this), but this aside the cats are dancing because the dogs were eventually banned from being used in this way following a particularly gruesome death. The song is incredibly well mixed, Lakeman has created some good harmonies of Roberts’ voice which shines throughout. The song has stirrings of early Tori Amos which, in my opinion,  always gets the senses going. This is no Amos tribute though, it moves it’s feet to it’s own beat. It is hard to imagine who else would have the presence to take this song on in the future, but for now this is the least of our concerns.

 

There are many other fine tracks on the album. The vaudeville, “poison club” exemplifies the mischievousness, playful nature of two folk artists quite perfectly listing some of the best ways substances to have fun to (or die from). Their cover of Sandy Denny’s “Solo” is pure beautiful intention, and “Old, Old, Old” (about a Seychelles tortoise) could be part of a growing tradition of the duo pointing out remarkable creatures  in the world around us. Throughout Lakeman doesn’t miss a beat in the instrumentation. It is a credit to his mixing that the weapon of choice on whatever song he is performing on sounds more like a pumped-up army as opposed to a single man, the depth across the disc even on more poignant numbers like “Independence” is breathtaking.

We cannot fault this album. The disc is thoroughly entertaining diving right in and waving to the crowd; it is a work that will be spinning in our music player for periods of time not yet anticipated. For any sci-fi fans it is fairytale in a similar way to Matt Smith’s run on Doctor Who with it’s kind of cool, slightly unusual but prestigious appearance.

Another way to understand the value of this album is to imagine that in the depths of Winter you were cold and someone recommended you buy this disc because it would keep you warm. You might don your pickaxe and hard hat to go down the mine in preparation for finding some coal, but what you would find  instead is a cave of diamonds from floor to ceiling that shine in the dim amber light of your torch. Take the bag that is your heart and fill it to the top.

Which is just as well because energy prices are going through the roof.

“Personae” is best ordered direct from Roberts & Lakeman at: https://www.kathrynrobertsandseanlakeman.com/

My other half recently interviewed the duo, find out their favourite poisons here, http://www.lastnightidreamtof.co.uk/music/kathryn-roberts-and-sean-lakeman-interview/

(I do not claim ownership of pictures and media referenced in this article, they belong to their respective holders).

Categories
Album/EP Reviews baroque British Debut Energetic Folk Music Historical Trad Covers Traditional Vitality

The Twisted Twenty (Debut Album) Review

THE TWISTED TWENTY

From: Penny Fiddle Records

Tracks: 8

With: Holly Harman (baroque violin, vocals), Alexis Bennett (baroque violin, guitar, bodhran, electronics), James O’Toole, David Rabinovici (baroque violin), Ewan Macdonald (Cittern), Lucia Capellaro (baroque cello), Carina Cosgrave (baroque double bass

Producer: Sam Proctor

 

Zesty yet focused, the Twisted Twenty’s Debut is a fantastic window to the Baroque era that you don’t want to close.

As bright and bold as the assorted splashes on their front cover, “The Twisted Twenty” arrive with their baroque-character instruments and are on a mission  to bring back 17th and 18th Century folk melodies (but were they ever truly out?)

Launched early in the year, their self-titled debut album does indeed deliver on this mission, and it does in the form of a mostly instrumental warm brew that shares a rather rich concoction of strings, other instruments and a scattering of almost marshmallow vocals. Whilst I can fantasise about hot chocolate, I am saying this from the cold, steadfast shell of Autumn, but the album is quite firmly a Spring album (it did come out in April).

It could be the image of spirals of hay and scattering straw with the welcome lightness of touch of Ruidleadh mo Nighean Donn – Cuir I Gluin Air a Bodach which seems to be capturing rays as it plays or the slightly mischievous and joyful collection of instruments of Track 1, The Ragged Sailor Set in all of it’s sparky, plucky energy; there is a good sense of fun which plays throughout the disc. The mixing is top notch, unlike Morecambe and Wise in some well-resourced sketch, you never feel that an instrument is jostling for the limelight, the cello and double bass do not announce their arrival and refuse to sit down; it all works together very well indeed.

 

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There is a lot to like, the regality of James Oswald’s, The Banks of Forth/She’s Sweetest When She’s Naked is intriguing. Their take on Arthur McBride is a gently moving, and rather earthy as the focus is drawn to the larger stringed instruments. The base is a quiet shudder, maybe the earth giving way for a seedling to grow. When he hear some traditional song lyrics such as those for The Three Ravens, we are not disappointed. Holly Harman’s voice reaches with a kind of sadness and fitting lament of the said ravens in the story who are eyeing a potential meal that ultimately they do not get.. The melody has a cool, sparseness like the chilled intake of breath before Three Good Fellows the following track which is a short but exuberant number is tailed by a stocky, gallant bodhran that gives it a definite kind of kick.

Everything is in it’s right place and this album is a great introduction to this period of history. Fresh and restless it is a dog’s bright keen eyes to it’s walking lead, one cannot deny the confidence that the Twisted Twenty walk in with here. For a man who likes his vocals and lyrics, The Twisted Twenty sit up there with Leveret at the few predominantly instrumental groups who I like to listen to, and when they do tackle lyrics it is as glorious as a dancing cat.

Check out the Twisted Twenty’s webpage, it is cool and puts mine to shame! There are some samples there https://www.thetwistedtwenty.com/

The best place to buy their album is from the Bandcamp page here, https://thetwistedtwenty.bandcamp.com/album/the-twisted-twenty

 

If this does not sway you, check out the video below:

 

 

 

Categories
Album/EP Reviews British Energetic Trad Covers

Kim Lowings and the Greenwood – Wild & Wicked Youth – A Review

FANCOURT MUSIC

Album Release: 8 September 2017

I continue to wade through folk CD reviews as there are many.

The next artist I would like to talk about is Kim Lowings and the Greenwood and their release “Wild & Wicked Youth.”

Let me just say to start and paint a picture; Kim Lowings has a great folk song voice. Somewhat Traditional yet quite invigorating her confidence has come a long way in recent years and after a few years of paying in she is cashing in and sounds exquisite (unlike pensions funds). With this experience she seems to be building a committed and loyal following on the road, but then as a fellow Midlander I will of course hold a little bias.

Even though I live in South Yorkshire, I more a Midlander than a part of the scenery in Yorkshire. After all, I lived for quite a while in Worcestershire in my youth, and well.. lets be fair.. I can’t be considered a Yorkshireman until I’ve lived in Sheffield for a hundred years, have donned (more) tweed and participated in the Henderson’s Relish Ritual.. and even then they might stop me at the last moment for refusing to call a bread roll what it is. But, bias aside, Kim Lowings has created and participated something rather good here. In a straight-talking and melodic fashion, she has brought an album of unpretentious joy with a “logwood pile” sturdiness that has folk at it’s heart. If indeed it has folk at heart, it has got some powerful arteries to pump around the lifeblood of this album.

After all, it is an energetic one. The album isn’t running at breakneck speed, but it powers through like a well-tuned engine in the hands of a professional. I particularly love the sound production on this album as Dave Draper has managed to preserve the lyrics at forefront in all their clarity but there is no neglect of the full instrumental picture. Just as the high rising tide of the sea is nothing without the sound of it hitting and chopping the shore, the deeply pleasant double-bass, percussion and strings crash together like the turning of Poseidon’s right hand and sound delightful. The band consisting of Kim Lowings, Andrew Lowings (guitar, bouzouki, bodhran, backing), Dave Sutherland (double bass, backing), Tim Rogers (Cajon, percussion, drum kit) and guests Lewis Jones, Shannon Johnson and Ami Opprenova have taken this sound mix to more than a handful of traditional songs and added something rather spicy to the musical stew.

Quite tricky, and quite risky as fans of the trad don’t always like things being changed about or altered, but folk music to me is essentially adding, taking away and reinterpreting what has gone before. This album does do it incredibly well too, the songs within are strongly recognisable, Lowings et al have done more than retain the essence of the songs. If we consider it like adding cheese to a mashed potato (pretty delicious), the original is not lost; there is just something else in the mix (and the naysayer who disapproves has probably added it in other potato pie contexts). As we shall see of the songs there is a lot of substance and a lot to enjoy. On a side note the photography on this album (Miss Whittington’s Photography) will be identifiable to many folk listeners in style. This is because it’s fantastic, powerful, mythological and intriguing all at once. But what of the music?

Lowings does not hang about on this disc. The opener “In Spirit” is rather raucously pop though decidedly folk in it’s themes of the ocean and natural environment. Tinged with mythology  she has (as she has done later too) mixed the two genres as effectively as one the colours on a fiendish Rubiks Cube. A good indicator for things to come, Lowings voice starts and deliciously hangs on the words, like dropping brown sugar cubes into a a sensuous, fresh coffee. Then the song takes on an unexpected bounce, the potential for the solemn becomes a determined pop hook with incredible punch, imagine a cat dancing around as milk is poured into it’s saucer. Drums hotly pepper the song as she sings about “Daniel the fisherman”, with a deft lightness of touch “My heart belongs on land, my soul longs for the sea.” No dirges or naval curses here.

Like the previously entry by Kim and the Greenwood “Historia”, I find these artists they have a certain mutant superpower for doing full-throated, unafraid, and self assured versions of well known songs from yore. On “Historia” there was a simplicity and honesty to Lowing’s version of “Dark-Eyed Sailor” but here instead we get a knee-slapping, barn-on-fire take of “The Cuckoo.” Don’t get me wrong, I love the more stripped back Mountain versions of this song (and particularly like the Rheinghans Sisters’ take), but unlike the drive for technical beauty of the former, Lowings is the fun and tumble companion, crooning away with the energy of a woman possessed, and possibly on a good roll of poker cards.

The band also (aptly as we are near Halloween) attempt one of the more gruesome, spooky versions of Two Sisters, “Oh the Wind and Rain.” Complete with dark story and a fiddler who a bit short of cash, we learn how following murder he decides to make a violin out of the main subject’s bones and hair (I haven’t got to this point yet myself, I must add). Lowings’ enjoys herself on this track and it does that fantastic phenomenon of folk where the assuring, light and chipper number stands at an equal contrast to the grim meaning and content of the lyrics. Quite strong and authoritative, especially on the anthem-like chorus there is also an great aura of emotion in her voice. There are many other moments of joy too on the album.

Lowing’s take on, “Away ye Merry Lassies” (a song about witches just on a night out, not doing any evil stuff) is pretty solid and joyous as it goes. On listen you get images of how (if it wasn’t relatively contemporary) it might be the old-time, folk equivalent  “It’s Raining Men” or a Beyonce track on a medieval hen night. I picture the night involving a wheel of cheese and someone falling into a muddy goat pen after some serious intoxication; but that is just my imagination run wild, I can’t say I’ve been on a hens night. I’m sometimes mistaken as a serious man, but I would have to be a machine not to enjoy Lowings’ take on the lighter side (of the dark side), and to make it clear this is a compliment, many a night in my youth I could feel the curtain of stress float away when the Weather Girls gave me a storm update.

As an album, energy runs right through. It feels like Lowings and the Greenwood have tamed the heat of the blacksmith irons; it is not rushed but as a chicken pecks at it’s mountain of feed, the CD continues with it’s shiny eyes fixed on the prize. The best example of when the album takes a sideways step is “Firestone”, a number with a piano that is strangely sad yet exuberant. It has dashings of Kim Edgar’s in it with Lowings voice touching the far reaches of a wide oak’s canopy, a delight from start to finish.

“Wild & Wicked Youth” is a great addition to their discography and it is undoubtedly a step up from “Historia.” The album has some excellent production and the CD bursts at the seams with an energetic yet charming character, it is a flock of  Will-o’-the-wisps circling the folk forest, climbing and dancing, never stopping.

Check out her website for details on getting the album, here.

If you want more convincing, see the videos below!

 

Categories
Acoustic British Gigs Political PR Traditional

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.

Categories
Acoustic Album/EP Reviews British Political

Steve Pledger’s – “Somewhere Between” Album Review

A self-assured album from Pledger, whose writing has clearly grown in skill. The lyrics are pleasingly concise, yet emotive and manage to capture other people’s viewpoints very well. It always persuades, but sometimes astonishes.

 

Introduction to Album

Steve Pledger is back with “Somewhere Between” his second acoustic-offering that continues to move across the themes he established quite convincingly in his album “Striking Matches in the Wind.” It is an album that continues to convey society and Steve’s particular viewpoint on politics that is somewhat left of centre. This in mind, it seems that a lot of folk fans will be drawn to the disc regardless of political alignment as it is observant in a forthright but considered way which should garner respect from all corners. The issues at the heart of his album are understandable no matter the political alignment of the listener.

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For example, on the album cover there is an image of white and red paint on the side of a boat. The paintwork is somewhat incomplete, there is a lack of certainty about the finished product. Like many folk musicians hearkening to human fears and worries, the image of sailing and travel is likened to uncertainty; here it would not be a stretch to consider that Pledger is thinking of the future of the UK. For the final track on the disc, “At he Last”, he touches on this sentiment explicitly and leading up to this point throughout the album he considers some more specific issues, notably marginalisation (“Other”), free speech (“The Right to be Wrong”), and the personal effect of mining (“The Louisa Miner”). The music is all held  together by Pledger’s attitude; if you have not heard Steve Pledger his sound is like a milky porridge mix. It is a staple, light and energy filled with fairly concise, relatively simple arrangements but also rustically sweet. I say his voice is porridge because there might be ways of making a mix of oats and milk at a Michelin-starred restaurant that would leave it unrecognisable as a working breakfast, but in doing so the factory-man’s blend becomes something less. One could not begrudge Pledger for taking some new inspiration in times to come, but while he is making political, acoustic work his direct, concise manner of delivery suits the genre, and will be recognisable to audiences.

 

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Songs

It is therefore a cohesive sound that runs throughout. “To Change the World” is Pledger starting his album with a lightly mocking dig at consumerism. Exceedingly airy and wandering it shows the singer at his most aware self, the one that is fused with his political self. The singer positions himself at odds with established ideology, slightly agitating and poking fun at some of the hypocrisies of the left, or maybe those on the right that proclaim they are interested in politics but are slipping as much in the machinations of the system as much as anyone. It doesn’t really matter, he covers both bases and namedropping “Banksy” and “Che Guevara” does give the song some memorable comedy as well, we all know someone who is singing about. The musical arrangement comes together almost like a faux reggae inspired number which is quite self aware too. Whether in construction or incidental the track lampoons a lot of targets on it’s way to your ear and serves the purpose that Steve seems to be saying throughout his work, that he is not above seeing the funny side to life. A good opening track whichever way you look at it.

“Lefty, wait your turn!” is a light touch song that contrasts by pulling some heavyweight names from elsewhere on the political spectrum (e.g. Rosa Parks and Luther King”). There is a call for change, perhaps Pledger is pointing to actions being louder than words, “the more we push the harder this boat rocks”, and that the system itself will not bring about the change, “you don’t get much change out of the bottom of a ballot box.” The piano/organ is quite chirpy when it appears and Luka’s Drinkwater’s double bass brings a nice extra layer to the overall sound too. It all keeps pace, like a kick around with your mates in the back-yard or the familiar pub discussions you know you will have when you see your colleagues at the bar. The track is what you expect it to be which is no bad thing.

 

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A couple of tracks that bring some poignancy are “The Louisa Miner” and “Other”. Simplicity and conciseness in explanation are elements of Steve’s work that appeal the most, though Steve’s music is quite characterful with it. “The Louisa Miner” explores the risks of this way of life, the people that are taken from us, and the families that are undoubtedly drawn into the dangerous work in a different way. It’s strength is that it provides a voice for the miner, exposing the necessity of what they are doing to themselves but also the need to provide for the family, “And if you want a home, Kids and a wife, Bread on the table, a little jam on your knife”. There is a considered purity of language here. When considered alongside “To Change the World” we see that Pledger has clearly grown in his music writing style since the last album. He is taking on different points of views, different modes of speaking, and has now written in the voices of the subjects he is singing about. Pledger captures the sadness and the complexities quite beautifully here and this is a particular strength from this album.

“Other” is more of a blank canvas that waits for the audience to paint upon. It is a quietly reflective song with an (even) starker arrangement of instruments. As it plays it is somewhat like a cold, quiet thought or an amble down a misty glen. Tanya Allen’s fiddle takes pleasure in it’s restless unhappiness in the central character as the song explores identity, and whilst it does seemingly reference skin colour, “my soul would choose a body fair”, the writer has intentionally created a stage here for different people to identify within and play their own parts. In truth it does not seem to seek to address any particular issue, e.g. race, sexuality, age, gender identity, and leaves this matter for the listener to make their own minds and personal links. It feels a bit different to many of the tracks on the album and is one of the best on here.

I am also particularly fond of “I spat fire.” The lyrics are clever “illuminated beauty/vitriolic duty”, the song is almost pop in it’s catchiness, and the imagery within is a thing of inspiration, “the seasons, Lazarus, and darkness.” It could be about a time in a tent, it could also be a creation myth. There is something rather smoky, quite engulfing about the track and I don’t think it’s just the Ledaig I have made a start on. Evocative and interesting it slightly mixes the practical memory with an almost transcendental subtext. The album finishes with “At the last” which (as mentioned) uses the familiar and comforting metaphor of the boat on a choppy sea to describe Pledger’s feelings of uncertainty. It is uncertain about British society, people that kind of thing, “We chart our course, beyond the bow there lies, every fall and every rise we must withstand” but it also exhibits Pledger’s hope that runs throughout the album like a vein of gold in earthy rock.

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Conclusion

Steve Pledger takes the strengths of the acoustic genre and sharpens his political scalpel with it. I say scalpel rather than cleaver because there is a sense of care of what is being put in; the songs are not a mindless attack. You can tell that these things matter to him, it truly comes across in the song but there is an aura, a vapour of Pledger’s open-mindedness, and he is self-aware as he clearly treads with humour and good nature. It feels like there is more variety here than “Striking Matches in the Wind.” Even if there are probably fewer instances of recognisable chants (I am looking at you, “This Land is Poundland”), it doesn’t really matter. Grounded in the world, speaking for people it’s succinct and powerful manner gives it acoustic heart, heart that is unashamedly moved by a changing UK landscape. Fans of political folk will be sold, fans of the acoustic should also give this a gander. Steve Pledger is growing in power.

“Something Between” was launched on 7 Nov 2016. The best place to buy the album is on Steve’s website here, priced £12.

The tour is still continuing too, check out details of where Steve will be playing here.

Check out a video of “Other” below!

I do not hold, or claim copyright for the pictures/links in the above post, they belong to their respective owners.

Categories
British Political Protest Folk

Merry Hell’s Bloodlines – Album Review

Release Date – 1 November 2016

Merry Hell are certainly putting their hours in. There are a working band with new disc “Bloodlines” coming out within two years since their last album, “The Ghost in Our House” (2015). They are in the middle of an exceptionally busy looking tour schedule too (with dates being filled up to next August).

Introduction

Consisting of brothers Andrew (vocals), John (guitar) and Bob (mandolin, bouzouki) with Virginia Kettle (vocals), Nick Davies (bass), Lee Goulding (keyboards), Neil McCartney (fiddle), and Andy Jones (drums) they continue their musical odyssey. This time they rally around the artery of politics, a blood system that courses throughout their folk-rock sound both in name and attitude. On previous musical dashes of theirs you can find tracks such as “No Money”, “Old Soldier” and “Pillar Of Society” that do this already by considering politics in one form or another, but unlike previous albums “Bloodlines” particularly feels like it has been conceived as an outlet for collective unrest in British society.

I say “outlet” rather than spear because there is a certain amount of melodic encouragement and lighter relief to Merry Hell’s sound that cushions this jagged edge of direct protest. It is not a folk album widely influenced by the punk tradition after all though much of the feel depends on the songwriter of each song in question. The male Kettles’ songs are slightly brasher with mental images of steel and industry and farm materials, a direct blow to society’s alloy. Virginia’s lyrics seem instead more like a forest canopy with meanings that dance beneath it’s surface. When combined the overall property of gentle defiance emerges as the intermediate. Whether a song fits into one of these, or to the other band-members songwriting credits; the delivery of the lyrics is generally bouncy, accompanied by a toasty warm bass and a grassy lawn fiddle. Despite the material being split into either being heavily action or contemplation, there is an overarching feel of conciliation and trust in others that forms the shale base.

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Track List

1. We Need Each Other Now

2. Bloodlines

3. Come On, England!

4. Coming Home Song

5. All the Bright Blossoms

6. When We Are Old

7. Stand Down

8. Sailing Too Close to the Wind

9. Chasing a Bluebird

10. Over the Wall

11. Under the Overkill

12. Man of Few Words

13. Sweet Oblivion

 

Tracks

In the opening track, “We need each other now” there is an unambiguous call to action in it’s words, “as borders crumble land and sea, bored with ideology, the skinhead and the refugee, you need each other now.” Along with “Come on England!” it looks to society to act together through the lens of change in response to the barriers of modernity. For the most part it settles on describing political structures and how they affect our personal liberties. If the album had been written later on this year (especially with the US election results) I do wonder if it’s fruit would be less sweet given what feels like a further shift in the political landscape, but these thoughts are largely academic.

“Come on England!” is a great track and does it while talking about “bluebells”, “teacups”, and “dandelions” which in fairness works well to balance with the other darker lyrics about “robbers” and “racists.” Those with a streak of patriotism will really like this song; in the engine that is  “Bloodlines”, “Come on England!” is the protest fuel that burns at the highest grade. This musical direction is a hallmark of Merry Hell’s work and in a way reminds of Show of Hands musical explorations. Merry Hell is more playful and optimistic though, “Bloodlines” is not a savage hound going for the throat, it is a St Bernard taking aid to the parched explorer.

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“When we are old” is a delightfully fervent turn from Virginia Kettle taking the reins of main vocals. Swaying like a treasured swing it is a song of commitment and love, possibly a love letter to her husband; it certainly seems likely. Though it might feel that “Bloodlines” has fewer tracks of this type then Merry Hell might ordinarily go for (I do slightly lament the omission of tracks more like “The Baker’s Daughter”) it makes sense that they do not want to dilute their message too much. The album makes up for this with it’s consistent, considered, poetic lyrics such as, “the days empty and wide, we can watch all the seasons unfold, when we are old.” Deeply personal, carefully written and with some nice backing strings it does what it sets out to do. In result it becomes a possible wedding number for a folk fan (not for me, though I’d like to I suspect my other half would prefer the Human League).

“Over the Wall” is a very good song indeed. Full of fun it doesn’t just tell a story, it practically acts it out with props and stage notes. It starts as a serious, pondering reflection (how you might imagine a musical “Man in the Iron Mask”) surrounded by snippets of goth and new romantic influences  as it describes the “festering darkness” of the prison cell. It then gleefully sprints as the rhythm changes and McCartney’s fiddle begins to dance like the eight legs of Sleipnir. Andrew Kettle goes for range with his voice (and succeeds as he has demonstrated many times), the drums rattle and all the elements come together including Virginia Kettle’s urgent dissent in vocal harmony. Like a novel it turns, gathers speed and slows in sadness a dizzying number of times. It is an example of fearless delivery, brave timing choices and a wonderful historical setting making this the stand out track on the album without dispute.

Some other tracks to listen to intently include “Sailing too close to the wind” (whose intro brings salty memory of “The Tide is High”), “Stand Down” (a slight bouzouki blizzard), and the wide-reaching title track of “Bloodlines”, which like much of the band’s music is affecting and dulcet. The track  I did not feel much for was “Chasing the Bluebird.” Though nice in arrangement, and fragile in delivery it struggles to hold my attention with it’s lyrics. A minor niggle on an album that largely delivers with fun and heart (especially on the last track, “Sweet Oblivion”).

In a Few Words..

 

Quite political it is a human album that will speak to fans and newcomers alike being well produced and as full of anthems as ever.
Generous in spirit Merry Hell deliver an energetic set of tracks with an optimistic view on people and collective power.
If you love politics, a good melody and a thoughtful lyric or two, this album is for you.

If you would like to purchase the album, please go here in the first instance (£12 including postage).

 

Categories
British Folk Music Gigs Political

Show of Hands w/Megan Henwood Live @ Royal Northern College, Manchester

I am happy on this Wednesday in November…. I am in Manchester.
Christmas stalls are up, but it is not that seasonal treat that interests me. It is instead the chance to catch a music group, a well-established roots band that is characterised by many years of playing and writing. I am talking of course about Show of Hands, who on this cold night are taking the stage at the Royal Northern College of Music. They aren’t alone though.

Joining them is Megan Henwood. Megan is a singer-songwriter with her second album “Heart, Head, Hands” (in 2015) under her belt but she is also well known for her collaboration with the cherished Jackie Oates on the EP “Wings” that came out in July 2016. She has also won the BBC Radio 2 Young Folk Award with her brother, performed at the Cambridge Folk Festival, and Glastonbury Festival in 2010, and on this night she opens for Show of Hands with a 30 minute set.

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Megan Henwood

With the energy of an auburn pioneer and with hints of self-deprecation thrown into her set, she is a true joy to watch.

She also plays some great folk with an added idiosyncrasy that she brings to a few songs with some unusual themes, “Painkiller” for example. Not the name of your migraine protection or some Scandinavian metal group, but rather a song about an Uncle who worked as a physiotherapist. Lightly paced and thoughtful with words she sings a mindful track. It is relatively simple words and arrangement, but it is understated and shows an obvious affection and respect for a person working in a field that is rarely covered by music at all. This positive observation on the good work and hearts of people gives it kudos alone, but she has a great voice too.

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“Puppet and the songbird” is a more of a jumping, intense and cryptic number in comparison. With more baroque-style lyrics, “look what I have done, I have been directed by the moon and the sun” combined with a modern beat, and lightly rapping delivery it creates a great lyrical exploratory space. She is a more of a folky and jazzy Alanis Morrissette here with lyrics that lead you on stories with a personal but pretty oblique meaning. Winding a path and knowing the way, her music has an effect that like a muse, you want to get lost with it. Henwood then plays some other folk-rock and roots such as “The Dolly” and the mildly heart-stopping”Chemicals”, an apology for a breakup with someone due to molecular makeup.

Despite my ambivalence towards songs about breakups (they are hugely popular at the moment), there is something more substantial and special in “Chemicals”. It is something to do with the lyrics and her emotional delivery. Cracked and affected, it hits all the right notes and makes jolts your memories of awkward breakups.

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In the time she was opening for Show of Hands she got a great reception and no end of people queuing for her merchandise (including as she put it, “a tote bag with my face on it”). Like a mahogany supernova she is colourful and swirling; she crossed genres by touching on aspects of folk (and in some tracks a strong Americana influence), acoustic numbers and blues influences not unlike many other singer-songwriters. There is something different in her delivery, and the songs themselves don’t feel like commercial shells, there is something else there and she is willing to share it. I strongly recommend you to listen to her, a growing talent to watch out for. Then there is the interval and then Show of Hands, who are Show of Hands?

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Show of Hands

Show of Hands are a well known trio on the folk and root circuit, their current (and fairly established) line up are Steve Knightley, Phil Beer, and Miranda Sykes. They play a heavily rock and roots influenced sound; their musical experience together goes back to the 80’s with studio albums from the 90’s and 00’s so they have performed and written for quite a while. They have performed at the Royal Albert Hall numerous times, and all have been a part of some influential and recognisable folk bands (Phil Beer being in The Albion Band for example). Be it Phil Beer’s musical hand that turns to any number of music of instruments, Steve Knightly’s earthy, scholarly mind as vocalist and instrumentalist, or Miranda Sykes’ captivating voice and bass; there are many elements that bring richness to Show of Hands. The sound can only really be described as a musical broth that has had time for it’s natural flavours to harmonise. Steve and Phil’s brand of elevated and accomplished roots with a hard rock halo is truly enhanced by the addition of Miranda’s natural, confident and (relatively) recent addition as double bass player and harmony vocals. The set then begins.

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Appearing a bit like a monkish choir with dark silhouettes (a kind of medieval Dartmoor Bohemian Rhapsody) the trio bring a solemn sound to the beginning of the set. Unlike the Queen mega hit, it is a track celebrating and remembering the historical funeral processions of England past. “The Old Lych Way” (written by Chris Hoban) is one of my favourites of the night despite it’s earlier play and difference in tone to some later tracks. The subject of death is jokingly referred to by the band as a “cheerful” start to proceedings, but it captures the attention and is a good bridge from the support to main act. It’s inclusion in the setlist highlights a key part of Show of Hands’ sound, the concept of remembrance that flows through their body of work like a delta on the floodplain. Whatever influences they turn to in their material (and they do cove a few bases) it is undoubtedly there, and their performance brings out a passion and commitment to these ideals that we can see in the gig.

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They also preview some of their newer tracks and some covers (that are both timely in nature and about time itself) such as a warming tribute to the recently passed Leonard Cohen with their version of “Suzanne”. Also in the mix is their version of “Time After Time” by Cyndi Lauper with some incredibly enthralling vocal harmonies, marching strings and a resolute lead voice from Knightley. I am glad they perform this cover, their performance ranks as one of the best 80’s ballad covers that I have heard, one that adds something through their trio of voices. One of Knightley’s new songs that is introduced is “Have no secrets” that is being showcased by Show of Hands on their YouTube channel. A frank piece of advice written from Steve Knightley to another man who is just getting married for what you should do including, “..no place to hide away, no treasure in a far away cave” seeks to  impart worldly experience to a guy stepping into a transition. I prefer this to the other track previewed, it speaks a little more to me and it’s words cover the uncertainty, the joy and the caution in the young man. The crowd give it a good reception too.

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Not that the group needs it, but another boost to proceedings is the venue. The Royal Northern College at this point in my writing is probably the best venue I have been to to hear folk music of this type. The instruments sound sharp and powerful, the lyrics are distinct and crystal clear, and the sound mixing is nothing short of breathtaking, I suppose the University involvement and dedicated space to music make this a necessity. There is certainly a marriage of sorts going on and unlike two hippos flapping in a mud-pot, there is no murky sound to be heard anywhere. It lends especially well to their more bombastic, anthem numbers that the crowd are undoubtedly waiting for such as “Roots”, the well-known call for the preservation of English music, the working class uniting “Country Life”, and powerful anthem “Cousin Jack”. In this last track in particular there are powerful anthems from the band.

Knightley’s peppery sawdust voice, Beer’s rum and golden syrup vocals, and Sykes’ splashes of lemon, high notes come together amazingly. There is a rich, thumping baseline and exquisite mandolin in “Cousin Jack” too, the stand-out anthem from a gallery of likely contenders. The crowd join in, there is singing back, the chorus erupts, a guy in front of me practically squeals in happiness, it is all going very well.

Conclusions

Would I recommend? Definitely, it is a show that entertains, which is melodic and friendly all round (something all the family can enjoy).

They are a band that is clearly influenced by history and their songs also talk about class and identity, the same stuff people of the 60’s, 80’s and today can relate to in their everyday lives. An earthy, accessible and well practised band they bring the joy in during these cold months. Megan Henwood likewise has a great acoustic presence and with her fascinating take on subjects in her songs she is a lively addition to the show. On stage they are all full of character and charm and their personalities are such that they can close the distance between the audience and stage to make the show and intimate one.
Check out your local venue they are playing at on their website and grab yourself a ticket, it is a great night.

Show of Hands are on tour. They are touring from “peak to fen” through to December including Portsmouth, Oxford and many others.
Check out their website here for details.

If you are unfamiliar with Show of Hands, check the videos below!Check out Show of Hands if you do not know their work below!

 

Categories
British Dark Folk Nursery Rhyme

Halloween Video of the Week – Lady Maisery’s – The Crow on the Cradle

Boo! It’s Halloween, Samhain, All Saint’s Eve or any other permeation of word to describe this fantastic time of year and to get in the mood I’ve been listening to some dark folk of time gone by.

The darkness has come and much like the balsamic vinegar that hugs at the bottom of that olive oil starter, the vestiges of our primal minds and lesser selves are cast on to shadows and we look inward (or maybe at innards?) I certainly treat it as a time for reflection, as the veil between the living and the deceased is as they say “at it’s thinnest” a quiet stillness descends and the mind races and chases all around.

Folk music notoriously deals with some dark stories, and the selection of tracks that could go here is endless, but when getting in the mood for some introspection I remembered this fairly recent rendition of “The Crow on the Cradle” as performed by Lady Maisery for their album “Mayday” in 2013.

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Why this song? Well.. it appeals to our childhoods. Part of the song is the nursery rhyme “Little Boy Blue” (Roud 11318) which certainly harkens to the mysteriousness of youth, particularly being young in the depths of history as a hard sometimes cruel place. Also.. its a crow! The image of the crow as a dismal, tormenting creature is in our collective consciousness, Poe’s influences of “The Raven” certainly have not diminished. Even without reading writer Sydney Carter’s lyrics as psychological references to the Cold War, there are awful images within which dance around our minds like terrible omens of things to come and these contrasts to the comforting familiarity of nursery rhymes are jarring to put it mildly. With lyrics such as, “the crow in the cradle, the black and the white, somebody’s baby is born for a fight”, the idea that the other, a talking doomsayer (a simple crow) has the power to condemn a human being to inescapable fate is incredibly frightening. You can imagine from far history of the chills and fear of the unknown and more powerful entities pulling the strings of an innocent’s life.

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Lady Maisery as always have hauntingly beautiful voices and they like smoothest obsidian and the sharpest of knifes. The light tap of the percussion, the mourning accordion and gentle banjo create an aching, wounding sound that resonates in particular on this darkest of nights tonight.

Give it a listen, let me know if you agree. Have a great Halloween!

Mayday is available from Rootbeat Records website here, check out this track and others (including Lady Maisery’s new album, “Cycle” on their website here.

Categories
Album/EP Reviews British Modern Arrangement Sea Folk

Kate Rusby – Life in a Paper Boat (album review)

Artist: Kate Rusby

Pure Records

http://www.katerusby.com/

An album of precise and selective instrumentation that concisely builds atmosphere and quality. Kate Rusby continues her good works through effectively combining traditional words and material with modern arrangements with a final product that impresses across the board.

Kate Rusby as we know is pretty much a folk music staple now. She has won practically all of the BBC2 Radio Folk Awards in a number of categories (Best Live Act, Best Album, Best Original Song, Folk Singer of the Year) to the point where she might have to create a new identity so she can have a stab at the Horizon Award too. It is well-deserved though, she started long before the recent notable boom in folk-pop and is very much a celebrity in these Yorkshire parts alongside Fay Hield and Nancy Kerr (and several others of course) in what could probably be considered the real “Northern Powerhouse”. On her 14th Studio Album (getting over unlucky 13 for some, but not really her) and nearly 25  years in music she brings “Life in a Paper Boat” with a continued humility and charm.

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To begin it has to be mentioned that the album artwork is a pleasure to behold. Dark yet colourful on the outside and adorned with paper cut-outs and folds inside there is a playful element to the work that sits alongside the more serious matter of it’s high quality production and photography. The album itself is bright and on listening is quite sensory, it  feels like a series of images are springing up all around and the artist herself to some extent is revelling in her inner child of curiosity. History, myth and wonder are very much a part of what is happening here and can be felt in the skeleton of this endeavour. It does not fully let itself loose though, several of the tracks are grounded in good folk providence and the disc never feels like it strays far from classical influences. For example, the recognisable figures such as “The Ardent Shepherdess”, “The Mermaid”, and “The Witch of Westmorland”  as more fantastical elements are all very present within this musical tapestry.
Producer Damien O’Kane steps with confidence in his job here as the subjects of the songs vary quite considerably between universal tales of love and more traditional and local content (Pace Egging Song). Much of the album is gentle in nature and aims to persuade by leading the listener through a scented garden rather than shouting down suggestions from a political soapbox.
The album has incredible wide appeal, it is not chic folk or folk music which longs to the gloom and misery it has a strong melody and comes at you with it’s arms wide open. It is accessible but also appeals to history and despite some of the heavier topic within, Kate’s trademark storytelling goes for the heart strings  and manages this with a great deal of success.

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On listening, “Benjamin Bowmaneer” is my favourite opening track of an album this year, no questions asked.  The modern drum and golden percussion coupled with Kate’s sirenesque voice brings a character and life to the tailor in the song who goes to war with a horse made of board. An Autumn feeling track it benefits from the artist having one hand creating a fun, believable legend and having one foot where she treads the battlegrounds of old England in the Hundred Years War. It also showcases the album to come with it’s purposeful choices of creating programmed electric drumming (Josh Clark), electric guitar and accompanying strings throughout which gives it a luscious, rolling quality. When you get on to the disc you get a delightful opportunity to hear an artist deep in her stride with music which is warm-heartedness that is traditional in subject but with a modern and attention provoking musical composition. For example, the use of electric guitar and banjo in “The Mermaid” is slight in form in that despite the expected lyrical love for the sea, the ambience created from the instrument feels more like the sun-bleached backing from some late 90’s dance-pop I’ve experienced. Saying this does not to discredit the tune or it’s folk origins, for me the memories of the sun and carefree love of life  was triggered by the unexpected use of these strings here and it certainly brings images of the coast which is certainly part of the sensory intention of the work. Rusby’s voice is particularly seeking in this track and combined with the more tightly wove backing sound sound it constructs the simplicity of an image of the sea, the waves and the joy all together in one place.

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“The Ardent Shepardess” is quite a complex piece with a rich, leathery string soundscape that deepens all involved. Rusby’s voice is empathic and open, the double bass (Duncan Lyall) is earthy, the banjo (Ron Block) is positively electrifying in execution. The old words combine with Rusby’s tune and it all melds together, fiddles and all in a warming number that spins and impresses. “I’ll be Wise” is likewise a sweet number with continued great strings. The double bass is almost like a heart beat as it plays a counterpoint to Rusby’s defiance of cooler reasoning (of head over heart) within the song, “There I see him, I swore I’d walk on by him, but I cannot resist and stop to eye him.” The other fiddles (Donald Grant and Magnus Johnston), viola (Triona Milne) and cello (Laura Anstee) shine as well. Like “The Mermaid”, it is as an example of the disc with a large number of instruments but with a trimmed output sound, or at least a producer (Damien O’Kane) who has recognised that less is sometimes more (it certainly is here). It is sharp and distinct. The sound of “Life in a Paper Boat” does not wash up and roll muddy on the shore, it feels instead like a fine wooden vessel skirting the briny sea on a fresh September morning.

The song at the heart of the album (of the same name) “Life in a Paper Boat” is affecting and timely; managing to convey the fragility, sadness and desperation in the refugee situation with just a few words. The synth in this track casts a slightly spectral, somber feel which sets a scene for the subject who is praying for a ray of inner hope during his predicament. He has lost his wife and the “ancient land I’ve left behind in ruins”, the track focuses on the positivity and light in the situation for that person. It makes you think, but it is not a song that guilt-trips or attempts to point fingers outwards, it just looks inwards to the refugee’s mindset and seeks to create a connection with the listening audience. Penetrating, on-point and as direct to the issues and feelings as possible, it is a song that soothes like a balm on the burning marked skin of society’s conscience. Stirring and mindful it is what is needed for an individual’s quiet reflection of the issue.

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The last track I will talk about is of course the excellent “Big Brave Bill”. When I described Kate Rusby as invoking the inner child, she certainly does here and takes it to the highest level with this song. The song started out as a bedtime story for her children and grew into Bill, a superhero from Barnsley who likes Yorkshire Tea (I can’t stand the stuff but I’m not originally from Yorkshire, so what do I know). He saves people from many notable places in the area such as Cannon Hall Park and further afield in Mallorca (when there is a bad brew was on it’s way) and is unashamedly Yorkshire while he does it. It must certainly have been a guilty pleasure for Kate to write and sing but it is really good, a lovely bit of fanciful myth-making. The whole track is charming and accomplished and as she says it is “truly” a celebration of Yorkshire identity in a lighthearted, highly spirited way. It’s energy and humour does leave me asking if it ever helped her children sleep at night or if it made them jump up and down on the bed a lot instead!

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Throughout the album Kate Rusby’s voice is a sweet undertaking of the finest kind. Some through recent folk history might compare her tones to the light touch of honey or cream or some other swirling, tasty molasses; I actually see the overall sensory analogy as being rather like lemon meringue. As sacchariferous as some could claim her songs are, the key to Kate Rusby’s attraction is her shifting centre, Lemon meringue is sweet but also a touch sharp and the creator of such a thing decides on the balance of two. The title track itself “Life in a paper boat” is serious, is harsh and very real in that it depicts the refugee experience. Rusby doesn’t hand out a lemon and make the situation sour, there is more to it and I think she has a singular skill for eliciting empathy from the audience. The album’s mixing compliments her voice too, it never overpowers or really comes close to drowning out the voice track. There are never any doubts about where Rusby can be heard and this is a great indicator of talent all-round as Rusby favours clarity over volume, and if this album is anything to go off, there is still quite a lot to hear yet from Yorkshire’s heartlands from this artist. Check this album out, it a a nice addition to this year’s releases.

TRACK LIST

  1. Benjamin Bowmaneer
  2. Hunter Moon
  3. The Ardent Shepherdess
  4. Life In a Paper Boat
  5. Only Desire What you Have
  6. Hundred Hearts
  7. The Mermaid
  8. Pace Egging Song
  9. The Witch of Westmorland
  10. I’ll Be Wise
  11. Night Lament
  12. (BONUS) Big Brave Bill

Life In a Paper Boat was released on 7 October, 2016. She is on tour! Check out the image below and her website here, for more details

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Categories
Album/EP Reviews British Folk Music Traditional

Ange Hardy and Lukas Drinkwater- Findings – Review

A culmination of learning the disc boasts high-class collaborations, vocals like fireweed and a smooth, rewarding experience that builds on earlier work and honours the traditional

Ange Hardy and Lukas Drinkwater – http://www.angehardy.com/

Label: Story Records Limited

Executive Producer: Rob Swann

Released 14th September 2016, Live on BBC Radio 2.

In association and support from the EFDSS.

 

In the field of engineering and business collaboration it is important to get what you are doing right. As Henry Ford said,

“Coming together is a beginning, staying together is progress, and working together is success.”

If Ange Hardy and Lukas Drinkwater are anything to go by then in virtue of their shared love of bad jokes (so bad they are good) and self-deprecation on their extensive tour (see here), they are indeed making a success from their relatively new “duo” status and discovering a strength in each other’s talents. Part of the fruits of their twosome toiling is a new album simply called “Findings” with Ange Hardy taking the lead vocals, some harp, whistle and strings, and Lukas with vocals, guitar and double bass. Described as  something that couldn’t have been accomplished by the artists alone, “Findings” has attracted some collaborations from other artists too based in the North such as Barnsley Light Kathryn Roberts along for some vocals, and  Sheffield-dwelling celebrity Nancy Kerr who bring a little extra prestige to the mix. The attention and inclusion of these artists regularly attached to the BBC2 Folk Awards does tell of the quick ascent Ange Hardy has made in the last three years and of a growing musical influence she is having in the community at large. The album has featured highly on Amazon and sales are looking healthy but what is the album like itself?

A nice touch is the pervasiveness of how the theme of these connections is explored. It is “finding” in concept, sound and word but also surprisingly in action as a rather special added bonus of the CD. Each disc comes with a unique name and code imprinted on the album case with a game that you and other purchasers can become involved in. Each name is one half of a group or duo who have performed together; finding the person who has the matching name and code gives both individuals the chance to unlock some bonus material next year (my code is King Billy, please help me out). I have not come across such such a social event in a folk music release before, it is an interesting attempt to innovate and bringing an abstract concept and idea to life in a real way. Ange Hardy et al are becoming fully confident and immersed in the business of making music, it is thankful to know that such a thing is reinforced to an optimistic idea that builds on the central concept and adds interest in the work. It is like a more ethical version of viral marketing used in branding and film media except here they are creating new meanings in the work they do. The album case design itself is quite simple, yet clean with Ange’s historically influenced icon of a tree and roots in shining silver on a matte black background, it is clearly going for the pure approach instead of clutter and confusion.

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The album musically expands on this purity of vision as it feels this time like the album is giving something back to history. Ange has done much original work previously and here with “Findings”, much like Confucianism’s honouring of the ancestors, the two writers are performing and writing to satisfy more traditional elements of the folk scene. It is this way that it is most surprising. After listening for a while I was rather amused to see reading the notes that many of the tracks were originally written work and are not from folk history, I could swear there was more traditional material here, but it plumps for influence rather than imitation. It amounts to an album that sounds deeply embedded in folk consciousness but does not come exclusively from history but also modern events which is a testament to the writing and sound that is contained within. It is not the literary-heavy reworking of Ange’s previous Esteesee, but the skills of textual adaptation can be clearly seen running through the album. If it close to any of Ange’s catalogue it is probably in sound nearest to the Lament of the Black Sheep with elements of her other work within but with a slicker sound depth that aims for a wider target audience alongside the rising production.

“True are the mothers” is an epic ode to motherhood that encompasses the aspects of protection “Many are welcome to Shelter all by my cloak”, family “none are forgotten for good is the home”, and provision “all of the little ones call on my care to feed from the fruits of the earth” in the form of trees throughout the song. It has a delicate yet strong arrangement, a spider’s silk of sanctuary spreading outwards. The sacred sense of the song is added to by some magical turns by Nancy Kerr and Kathryn Roberts as added vocals, and it all hangs together with some light harp, whistle, and treading double bass that form a soundscape of bright forest mornings, slender breezes, and venerable medieval folk. Despite previous consternation from myself that this album was unlike her previous, this track is quite stripped back in presentation, and infused with nature’s power much like some of the tracks on her “Bare Foot Folk” album, which is no bad thing at all. Another song on the album that mentions trees, though in a more metaphorical way is the duo’s version of “The Trees They do Grow”, a traditional song in every which way referencing medieval child marriage, and the shortness and brightness of the spark of life in those days. There is a nice contrast between voices here. Ange’s voice is searching, emotive, and expressive whereas Lukas in backing sounds like the voice of inevitability; like if gravel had legs and walked amongst us. It amounts to a searing and honest re-telling of a very famous folk song indeed, it fits right into place here and is a firm favourite.

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Another great track, “By the Tides” is an introspective look at the conscience of the nation as it explores the loss of human life in the Mediterranean Sea by people crossing to seek safety. It does not blast out it’s judgement but worries, wonders and asks. Like many tracks on the disc it is an acoustic marvel which dwells in the open away from an overwhelming or stuffed ensemble of instruments and takes the sharp tool of acoustic guitar, some double bass, vocals and does what it will with these. It is a song raising beacon on in exploration of the issue and has the subdtlety of lighting a candle amongst hope rather than a lighter at the fuel of anger around migration, asylum and fear. True with lyrics such as “will you still be waiting when the ignorance has gone?” it could be being forceful with it’s message but in it’s questioning lyrics and rhymes it seems to be pointing towards a welcoming answer rather than prescribing it too heavily. Beautiful in execution with a warming character it deserves more than a few listens. “Invisible Child” also tackles a societal issue, but one not so highly publicised. Written about young carers and the things they do for family member that are often unseen by greater society it considers the mind of the child and the simple day to day routines done without question in the heart of adult responsibility seen experienced in the life . There is little instrumentation like “By the Tides” and here it is tenderly sad, eliciting some heartfelt sorrow as you hear the voice and the joy the child has at doing these simple, essential things. A smile is raised at the end of the song when the whistle comes into play weaving the child’s imagination, fun and energy almost into a dancing jester, a remarkable remembrance of who they are despite the need to “be” an adult. It is a skilled use of candor as it defines and gently engages around a society-wide issue, and is a great track in it’s right.  Even more disrobed of musical instruments, “The Pleading Sister” is a song that expands on the nursery rhyme “Little Boy Blue”. It is seamless how it is done, on listening one could imagine the story of woe from the perspective of the sister of the noise-making sibling who fatally falls victim to cattle being the actual missing verses. In sound it is simply told through Ange Hardy’s style of minor harmony with herself, and the mixing of voice is quite good. Much like an older family member held in wonder for repairing clothes, the song like the stitching repair with skilled hands is faultless, invisible; the writers’ hands move and the only uncertain thing is where the story starts and where it ends and working with old material such as this takes a very deft hand indeed.

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Also on the album are some more heavily layered tracks drawing on more instrumentation. This serves to not only balance out the construction of the songs within but also showcase the learning that has taken place following Ange Hardy’s earlier albums and the influences she has developed over the years. She describes “The Widow” as her favourite instrumental arrangement on the album and it is hard to see how it couldn’t be. The role of memories and their changing nature both lightens and weighs burdensome amongst Evan Carson’s sparkling percussion, the dream-like accordion (Archie Churchill-Moss) and tragi-myth stylings of the fiddle (Ciaran Algar). An accomplished, mature work that burns the senses like spicy, mock turtle soup it has a classic refinement you find on the best folk tracks on the best albums being played in the best pubs. Another track, “Far Away from Land” also brings together some more instruments, this time in a very lightly nautical sounding song around a heavily nautical topic (the passing of Manfred Fritz Bajorat who moved away from land and his family to live the rest of his life at sea). The song based on the gentleman shows Ange at her most animated on the album, the song is cyclical and sounds much like the isolation and circling feelings of the sailor. It brings all the elements together in a pacier number that is 5 parts a story of legend, 2 parts a sad tale, and 3 parts of going out the way you say you will. The differing voices all come together well here. There is a tinge of madness in the loop, and the delivery seems to see the last days of the sailor as perhaps being more tormented than he might have imagined or wanted them to be. This is the artists’ imagining anyway for it is another mystery of the world for what those last days must have been like. The male backing vocals work particularly well in this song being stepped with the addition of Steve Pledger in backing being the coffee to Drinkwater’s black molasses.

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Clean, professional and rewarding on re-listen, it has taken a while to see the different parts within this “Findings” album.

If her albums were professions this one would as literally described previously, the jeweller attaching a charm on to a loved and old charm bracelet: there are different parts which together jangle and bring memories of different people, times, and places.

Like some of the finest single malts, there are several touches and flavours to be borne from the finish; if I was to pair this album with a whisky it would have to be an Aberfeldy Single Cask balanced in spice and honey for the album is quite distinguished in it’s depth and harmony. The subject material is wider than previous albums, it’s appeal is probably wider too in terms of who will get the most from “Findings” and this can only be a good thing. One cannot fail to be impressed by what is done here and the intentions behind it, it’s concept is not overly laboured in the songs per se but done carefully and thoughtfully in the spirit and sun of the music inside. The execution of the “Findings” Game also show a clever mind at work and a lovely attempt to bring people together in the mood of the work at hand. There is a craft here that leaves a mark in the book of music that will hopefully run across the whole parchment of folk for years to come.

The Findings Album can be found everywhere including on Amazon, and the official website here.

TRACK LIST

1. The Call/Daughter’s of Watchet/ Caturn’s Night

2. The Pleading Sister

3. The Trees They Do Grow High

4. Far Away Land

5. By the Tides

6. My Grandfathers/Bearded Ted of Raddington

7. True are the Mothers

8. The Berkshire Tragedy

9. The Widow

10. Bonny Lighter-Boy

11. Invisible Child

12. Daughter Dear Daughter

13. The Parting Lullaby

 

If you are still not sure check out the video below and head over for their album or tour, you will not be disappointed, here is my post from seeing them at Derby Folk Festival this year.