Category: Debut

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Album/EP Reviews Debut Folk Music Irish Nature Folk Scots Singer-Songwriter

Iona Lane – Hallival – Album Review

Released – March 25 2022

From beyond the rolling mist (and probably a few sheets of snow) the mountain of Hallival stands beautiful as a site of exploration, and in seeing it, a conquest of one’s own very ideas of beauty. Iona Lane’s debut album takes this beauty and transcribes it into a folky exploration (and a curious one) heavily inspired by the mountain on the island of Rum. Lane digs deep into Scottish folklore and legends and sets these delightful pictures to the wallpaper of the green, enigmatic landscape itself (with a beautiful, careful meshing). This mixing of inspiration and lore is a stirring, deep breath out and a fresh start to the year.

There are some interesting tracks to find here. 

“May You Find Time” is a good place to start. Being a kind of call for the restorative balm of nature and everything in it it breathes deeply in a refreshing way. Lane sings of wild baths, the building of nests and to“look for tides to take your sorrow”. Unashamedly bouncy and joyful, it is unsurprising if it will help to reappraise some of the simpler joys in your life.  

“Fingal & Bran” is one of those mythologically tickling tracks you get on a folk album. A song about the duo of giant and dog; it is a gentle affair that looks at the landscape and muses on the pair’s travails as they can be seen in the wondrous shapes of the hillside, the breath of the wild as we consider “causeways and caves and all things fade”. Lane’s voice has a kind of choral shadow here like a brambled hedgerow that darkens its poppier influences only to tracer sparks of the orchestral strings of classic folk. Slightly melancholy, its echoes and character harken to the delightfully exploratory path of Emily Portman with a fantastical darkness hiding in the potential energy of a cobra knot.

We also have a lot of time for “Mermaid”. Lane’s voice is smooth alongside the lament of the shruti drone.  Like all the best stories of yore, it concerns the family of the Macleods and how they got the Devil’s hands to help build Ardvreck Castle. The problem is that the father of the family refuses to sell his own soul to the Devil as a price but offers his daughter’s hand in marriage in return.The instruments are slightly unsettling and build atmosphere in the background to Lane’s seriousness. The tension ratchets up as it goes on. The track wears the spectral influences on its sleeves and invites you to imagine this moment of history while you look into Loch Assynt.  

Headspace is a beautiful and short addition to the album. Like the tapping of light fingertips to the cheeks it speaks as a love song to the gentle joy of happiness within. Its melody depicts the joyous feeling of a mind at rest, like a puppy with its playful tummy being tickled. The piano tinkles are a large-eyed enthusiasm, and the dancing strings of the guitar deck float in a gentle breeze; it is close to one of those ASMR videos with Lane’s softly spoken voice and positivity. This positivity oozes on to the following track, “Crossroads”, a sincere call for freedom that Lane wrote in response to history and how traditional instruments, music and dance have been banned across Scotland and Ireland at different times. 

All-in-all, the album is the essence of delicate nature and the energy within like a sun-filled day and a basket full of freshly washed laundry. Her songs are like the heaving clothes that splatter an intriguing, emotive water as they are heaved over Spanish floor tiles. There is a heartfelt construction and performance here which shines in the confidence of its debut status. It is also methodical, it does not rush to gorge the senses, but slowly enfolds from its creation and warms the listener. 

We love the range. As mentioned, Lane plays hopscotch with the natural world, stories and myths and a dash of history in the influences for the album and manages to keep the interest of each part in her sights. If this sounds up your street, you could do far worse than check out Iona Lane’s first album, a considered and strong entry into the world of folk. 

If you are interested in purchasing the album, we recommend purchasing direct from Iona Lane on BandCamp @ https://ionalane.bandcamp.com/releases

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

The Wilderness Yet – Debut Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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Album/EP Reviews Debut Duo Folk Music

Ruth Notman & Sam Kelly’s “Changeable Heart”

Photos by Redwood Photography

2019 is with us, and with it comes the next wheel of folk that propels it’s artists up and into the sun for the year to come.

First in our more regular series of album reviews we would like to cast our eye over a new pairing of Ruth Notman & Sam Kelly with their first album together, “Changeable Heart.”

We admit to not hearing much from Ruth Notman’s previous albums, “Threads” and “The Life of Lilly” but what we have heard has certainly sounded like the sweet song of Summer or the light and joy of a meadow. In the case of Sam Kelly, our senses are often assaulted by the happy-go-lucky yet stalwart and professional folk sound that he brings to his albums and have high hopes indeed. It is almost like he is the subject of one of those trad songs about a mischievous guy who turns the hay with a wink and a smile. So with this pairing there is the strong possibility that we might see a new dynamic, some new shades of the folk artist palette hitherto unheard from these two.

What emerges from this meeting of minds is primarily an album of distilled romantic attraction interspersed with small flashes of the darker facets of love. After all there are a few numbers about gestures of love such as the knotted excitement of proposal such as “Bold Fisherman” or in the “Sweet Lass of Richmond Hill” but there is more than just this. There might be a song about working for family love but with the caveat of the loss of a childhood (School Days Over), the comical and lusty bawdiness of “The Cunning Cobbler” or a hope for a loving future in their cover of, “The Island.” (Paul Brady) as well. Overall though, it is a work about joy and intense emotion (think of a bird of paradise in a love dance) and the album cover shows this with the stirrings in the chest being illustrated by the warmth of flowers bursting within the heart.

In whole there is a good selection of traditional songs arranged well with a smattering of synth electric instrumentation, the odd cover and a couple of original numbers that are fresh and interesting on the album.

The track “Changeable Heart” is an important original song for starters. Like a calm night in a lagoon it takes it’s time as both Notman and Kelly linger over the words, adding a swathe of heartfelt emotion to proceedings. It is performing with a sensitivity and collective joy that elevates what could be considered relatively simply lyrics into a direct and powerful experience. As a ballad and as the showcase for the album, it both encapsulates their match of voices and adds a punchy weight to the overall experience. It is also one of the tracks with comparatively more instrumental input such as electric tenor guitar (Damien O’Kane), moog synth (Josh Clark) and strings (Anthony Davis) where it is especially effective and a good choice.

When the album approaches more traditional fair it does not disappoint either. The inclusion of “The Cunning Cobbler” is a certainly a welcome sight as we do not hear it too often. You can tell that Kelly and Notman are having fun on this track, and why not? Sordid and grimy it’s a dark deed of a song that we are both expecting and wanting from this pair, and it delivers. The whole thing keeps pace with it’s banjo interludes (Damien O’Kane) and whistles (Ross Ainslie); the song’s history is like a cross between On the Buses’ Jack Harper hiding in a wardrobe and the grimy tones of Sweeney Todd. Overall a great entry.

Our favourite on the disc is probably their composition of “School Day’s Over.” As mentioned, it is essentially the loss of childhood as the song details little “John” putting on his work clothes to go down the pit, “Jim” going to mine, and Dai becoming a “collier” whilst reminding the sad truth that “school days over.” We love the atmosphere generated by the minimal drone of the instrumentation that harkens to this life transition. The instruments flicker like a wavering candle, it feels like the breaking of an early morning’s silence as the young boys look ahead to the day and life as it will be. We also love Notman’s voice, like a mother’s concern but also support of going to work and the idea of a son bringing money in love and support of the family. We recommend you check this track out, it is a moody and quiet version of a usually quite energetic number.

We are also keen on the duo’s rendition of “Bold Fisherman”, a more often heard but still excellent number. Opening the album, it shows both artists’ ability to sing; Notman is radiant and silky as a red fox’s fur, Kelly is delightfully restrained in embellishment (which is a good stylistic choice for this song). Another successful new track (probably the best on the disc) is “As you find your way home” by Notman. The piano accordion (Notman) adds a little spice and the chorus endings bring us back to the title with a warming familiarity, “As you find your way home.”

“Changeable Heart” is a welcome album as it points towards a good year for folk music. It is a disc of good song choice, a rather pure concept of love and a showcase of ballads, and most important an excellent intermix of Notman and Kelly’s voice (because that is an essential component of any duo). We feel Kelly is reaching quite successfully to his most heartfelt and contemplative and Notman is a great talent that we are pleased to now be acquainted with.

If you like a little romance in your life and you like a little more in your traditional repertoire then “Changeable Heart” is a good purchase. It is not an album that feels like it is attempting to square the wheel, but rather is making a very polished roller whose hub is held with a strength and clarity of two excellent folk voices.

The album is due out soon and there are upcoming tour dates, check Ruth Notman & Sam Kelly’s website (http://www.notmanandkelly.com/) and the Pure Records website (https://purerecords.net/) for more details and ordering information.

Categories
Acoustic Americana British Country Dark Folk Debut Festival Folk Music Folk Pop Gigs Political

Hebden Bridge Folk and Roots Festival 2018 – What you missed

Hi I hope everyone’s good and enjoying the sun!

So it’s been a few weeks since the Hebden Bridge Folk and Roots Festival, where the sun started to emerge and the musicians came out to entertain. We had quite a few highlights from the festival with (for us) an array of new talent and artists to share with the world.

Stay with us a while and have a read and listen to some of the acts that you missed!

THE LANDLUBBERS, MORRIS AND.. BACK TO THE FUTURE?

The weather was as fine as could be, so a little outdoor song and dance always goes down well.
Near the bridge in the Town Centre we came across a motley group of Landlubbers (we wonder if they hate the sea or they were the tailend of an insult and the name stuck). However their name came to be they were as briny a crew or shanty singers as you could want. We thoroughly enjoyed their singing so much it made us wonder if their boat was on the river behind. A good crowd, and a great part of the festival.

There was some Morris Dancing as well! You can’t have a Folk Festival without a bit of Morris (knowing my luck I won’t have to  sit too long at my computer desk and await a festival without Morris to get in touch!) It was good to see an all-woman Morris Dance, and here they all are.. I presume as washerwomen. That reminds me, I have some shirts to dry! Heres a video to whet your dancing needs.

Ok.. we know that Chuck Berry did it long before it featured heavily in that 80s sci-fi comedy classic, but I’m a relatively young guy.. it’s the first thing that comes to mind. I have to sadly regret that I did not get these guys’ names as we were just passing, but we seriously felt that it was a great energetic aside to the day.

TRIXXI CORISH

 

On Sunday we got to see a few artists in the excellent Trades Club where the beer flowed liberally. It was also a fine place to be eating a bit of Thai food that was on the go as well. One relatively new artist was Trixxi Corish a singer-songwriter covering a number of different genres including folk and country, but intriguingly she brought some spoken word as well. Despite a disclaimer at the beginning of the set that she had a bad throat, she went on to sing a number of traditional tunes as well as an excellent cover of “Fields of Gold.” Her monologue about a Southern Irish woman managing with anxiety and depression was really thoughtful and natural; she has strengths in song and in word. A great up-and-coming artist and spoken word performer, we saw some magic there, and we raise our glass to her future successes (especially if this was not her running at 100% !).

LOGAN & MANLEY

There were many fine artists to be seen amongst the picturesque surroundings and the old cobbled paths, it is a mammoth task narrowing it down. But as the mind’s eye roves back over the festival the clear breakout from the festival for us was Logan and Manley. As soulful as a spicy tea and a demonstration of a charging elephant into the music scene, Logan & Manley were something else indeed. Breaking the civility of Folk Gigs and getting people dancing to their sultry, emotional beat they kicked serious ass. As we said on Twitter:

“The most interesting duo we have seen live in recent memory. Exceptional presence and burning talent. Logan & Manley stole the show in many ways at Hebden Folk Roots Festival. Soulful and energetic they work it with unfettered talent.”

Their simple pairing of vocals and guitar with added flourishes of percussion and a good use of looping vocals brought the house down. Some favourites of what they performed included the “Tell Him (Her)” a cover of Lauryn Hill, the warm rush of frothy milk on expensive coffee of “Meteor Shower” (the opener), and “Wait a While”, a jazz/funk backing which should do plenty to cement the pair as icons.

Forward in style and approach, a ferociously dynamic presence, and great musicianship could be enough to convert this website to “Soul Phenomena.” Do not miss under any circumstances.

HENRY PRIESTMAN, LES GLOVER AND THE MEN OF A CERTAIN AGE

As the day turned to night, Henry Priestman et al. reminded us that in a rather jolly fashion that in  that transitional stage of life akin to being a teenager, things can stop making a lot of sense. In fairness, it wasn’t a set that dwelt on the twilight years experience as there were plenty of politics (Goodbye Common Sense, Not In My Name), folk (Ghost of a Thousand Fishermen), and fatherhood (He Ain’t Good Enough For You, We Used to Be You). With songs that are always something different and a good connection with the audience you are always on to a winner.

From what we saw from the festival of a whole, Priestman and band were of the most energetic and delightfully irreverent in all the best ways. Accessible, catchy and pop-infused it was supported by songwriting not unlike strong, thick treated timber cladding. If the music garden of your mind requires something extra, these guys are the shed you have been looking for.

THE HARMONY JAR

 

For the cheery, dream-like “in between” time from the early morning entertainment and the build up to the evening showstoppers we had the pleasure of listening to the trio known as “The Harmony Jar.” Rather melancholic but also soothing and touching, The Harmony Jar excel as Americana, perhaps how you imagine the killer knots on a barbed wire of a fence. Singing about love, the prickling apologies of loss and leaving a husband (How We Part), angst through ukulele (Before You Are Through) and a more than serviceable cover of “The Way it Goes”, The Harmony Jar bit off a lot, but it wasn’t more than they could chew on. One of our favourites, we look forward to hearing from them in the future.

WILL KAUFMAN

https://www.willkaufman.com/

At one point during the festival it felt necessary to go rustic.

In terms of American Folk, you can’t get much more old-timey than some Woody Guthrie, who was as much a symbol of protest and liberty as a singer. This is definitely something we can say we like from our folk from time-to-time and Will Kaufman did not disappoint. As his page declares he is, “widely regarded as the world’s leading authority on Woody Guthrie” but it wasn’t just his academic credentials or his musicianship that impressed. He’s a thoroughly nice, extremely knowledgeable guy who told tales of Trump of old (Trump’s father) who was a less than stellar property landlord (with the song, “I ain’t got no home”), Mexicans and about a remarkable individual “Stetson Kennedy” a folklorist who infiltrated the KKK and gave away their secrets and codes to the radio.

There is something incredibly apt about an expert on a pioneer of folk following in his footsteps through both word and song.. Will Kaufman does that and does not disappoint.

And Many More..

There were many, many more great acts too.

Off the top of our heads: Reg Meuross (one of our perennial favourites) was playing his heartfelt, socially conscious brand of acoustic song to great effect, Steve Tilston brought the backbone of folk to the stage, and his daughter Molly Tilston performed a great dark folk set which much, much promise. The Roger Davies Band was one of the most confident and slick on stage and the Jon Palmer Band pretty much cleaned up with their jaunty songs that at times explored the best part of folk-pop. Here are some final clips to get you in the mood.

All-in-all Hebden Bridge was a good time, a great slice of local talent and a testament to West Yorkshire.

This year we liked the central location and how close the venues were to one another meaning it is very difficult to miss the acts you have been dying to see! Great shopping, great food and atmosphere, we’ve barely scratched the surface of what went down at the weekend beneath the warming sun but we hope this brings you a bit of a flavour.

We raise our glasses and hope to see you there next year! Keep your eyes peeled on the website https://www.hebdenfolkroots.org/

Categories
British Debut Folk Music Folk Stories Historical Trad Covers Traditional

Geoff Lakeman at Village Folk – 17th March 2018

Geoff Lakeman

There is procrastination and procrastination. I mean I have thought about painting the walls in my office a beautiful forest green for weeks (and haven’t managed yet) but sometimes people put off really big things, things that matter. In the world of music there are bands who take their sweet time between album releases. For example Daft Punk took 12 years between “Human After All” and “Random Access Memories” and The Who went from 1982 to 2006 without a further album release in the middle. You have groups like this, then you get Geoff Lakeman.

Geoff Lakeman is a surprisingly low-key figure in a flock of Lakemans, but there are few that will not recognise the name at all. Many are well known folk artists after all including Seth, Sam and Sean Lakeman, all artists very present and productive in their folk projects, but what of Geoff? Well if Lakemans are like springs of musical versatility then perhaps you could say that Geoff is the “limestone” that helped these waters emerge. As father to the others, he is the unsung song,the unseen wind that performed folk as a family for several years only taking it up full-time when retiring from a long, distinguished career in wall-street journalism. So when we think about time taken for artists to release work, few will match Geoff’s record of waiting until his 69th year to put his thoughts on to silver disc.

But it is well worth the wait, our review of it is here and tonight he plays at Village Folk in Chellaston.

Making his way in a rather quiet and unassuming manner, Geoff took the stage to show us what he knows. Perhaps this element of Geoff taking his time to make a disc from his 40 years of performance is what makes listening to Lakeman now a special and privileged event.

It is a refreshing set. Lakeman skips across the Atlantic on more than one occassion bringing us “When the Taters are Dug” and “A Wide, Wide River to Cross.” The former being a delightful ditty about rural life from Maine, the latter is like a spiritual hymn with it’s powerful resonating introspection, the singer reaches far and wide in both location and tone. The crowd are rapt and attentive as he holds the stage for his own, it is a delight to see him touring. Delicate in character Geoff also sang “Someone waiting for me”, a track not found on “After All These Years” and when he comes back to our shores he storms in with an original number “Tie ‘Em Up”, based in history but eerily relevant to today’s issues to do with fishing quotas.

Geoff also plays one of our personal favourites “Rule and Bant” about a couple of tin miners trapped in the ground following an accident in the 1800s. An emotional number, Geoff’s voice is quite elastic here portraying fear, good cheer and mystery. Politics gets as good as a visit as history too with Lakeman playing an excellent cover of “England Green, England Grey” by Reg Meuross instead swapping out the fine guitar work for his own concertina. As becomes apparent, the set has more than a few flashes of politics and history and has an awful lot to say much like the aforementioned Meuross who alongside Geoff are likewise chroniclers of our modern injustices. The joy of seeing Geoff is that he embodies the soul of folk music as he plays alone with a rare concertina quality with no production tricks, echos or otherwise. For many this alone is folk music at it’s purest, like col0ssal veins of iron before they are treated to become stainless steel. People who like their songs about the working man will not be disappointed here.

In person and in performance there is isn’t a big band or a wall of sound but does not suffer for it. It is quite a pertinent observation as Lakeman jokingly tells the audience about the creation of the album. It is pretty entertaining to hear how it came to it’s current shape, especially at one point where Geoff sends a track off to Sean doing the production to add in another instrument and it comes back with more backing and Kathryn Roberts’ voice appearing on the number as a surprise. His laments about being coerced into including the track “Doggie Song”by said Roberts are also entertaining as he becomes concerned about being remembered for the guy who sings about “dog turds”. The risks of musical typecasting is certainly real!

As well as showcasing a large amount of the album’s tracks, Geoff took some delightful sunny detours. He sings “The Seeds of Love”, that old, old classic collected from Cecil Sharp and a jaunty, folky version of Ella Fitzgerald’s “Making Whoopee” that makes really does the earth move. These little moments of sweetness and humour really bring a roundedness to the set elevating it above the preconceptions that some might have about folk music, e.g. that it’s all about death and seriousness.

So in a strong, simple performance whose strength is it’s simplicity and clarity, Lakeman shows us he is an entralling, generous and accomplished host. The set brims with stories, the room sways and sings along in time and the night is awash with a quiet energy that fills the corners of the Lawns Hotel.  A great night,  a thorough, committed performance and as always a gracious, attentive and warm reception by this night’s organisers, definitely give one of Geoff’s gigs a go.

Check out Geoff’s website for more information about where he is touring here!

Village Folk is one of the best live venues we have been to.. granted we write for them, but we also believe it is a great atmosphere, a welcoming family of people and a special night out, check out their website here to see which folk act they are getting next (they get some of the best) http://www.villagefolk.org/

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.

 

SONY DSC

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 Debut Folk Music Nature Folk

Elfin Bow – A Debut Album Review

Elfin Bow – (Elfin Bow)

Elfin Bow Music

Recorded at: Hound Dog Studios, Liverpool

www.elfinbow.co.uk

Released 18th March 2017

 

Elfin Bow is very much the ringmaster in this positively creative and interesting debut that takes the best elements of her musical inspirations and fuses them with the mysteries and wonders of folk music.

 

Elizabeth Anne Jones aka Elfin Bow has arrived. Wherever she has been waiting, she comes from with a musical sound  from parts of the 70s I see and hear when I consider a decade I was not a present in. I think of the joy, love and colourful air  filled with the scent of sweet flowers; Bow’s debut has this kind of energy and intention. It can be seen from the get-go with Bow’s characterful album cover art which she has creating, and on it herself as a larger than life character. The instant impression is something rather Lewis Carroll-ish from the portrait on the cover pointing to a surreal content inside, especially with the clock motif. While I wouldn’t strictly categorise the album as “surreal”, it it anything but drab and the artwork is quite lovely.

This is not to say that Bow’s debut album is all blue lagoons and influences from the age of flares, for there is a depth of thought to be found running through; quite a fresh and original one really. Indeed these waters harbour a shark or two inside the lyrical structures, and persistent instrument arrangement, Gary Edward Jones’ production and Gary Lloyd’s mix makes some excellent choices throughout. Rather than going straight for the jugular of folk convention, it walks the tightrope that is between accessibility and deep folk themes; there is a lot to like on both counts. It is not full on psychedelia, but the songs within have a flourishing of consciousness and bright shades, it romps through with the content with a giving it a confident, contemporary edge. Her particular sound might be due to how she describes as a “strict upbringing” in regards to the music she was allowed to listen to. It was only more recently she managed to hear and be influenced by PJ Harvey, Tori Amos, and Bjork. The kind of spectacle and slightly flamboyant character building she has taken on  herself in the album does remind of the flame haired pianist herself with the  direct, self-believing songs on the disc. In fact, at times there are passing nods to Fiona Apple also.

With such comparisons, the big question might be, “Is it folk?”

Yes, it is indeed. There are many elements of the folk tradition brought in, be it the seasonal “First Red Leaf of Autumn” or “Daffadilly Down”, the menace of “Grimshaw and the Fingerclaw” and “Holler in the Hollows,” or the banjo-love on “Prarie Madness.” It is just not all one thing and one thing only, there are singer-songwriter elements to the presentation but if you are a person who holds your genre dear in a singular way there isn’t much to fear by getting this. The reason is that this is not an album of piano cabaret or post-ironic, experimental work, these styles couldn’t be further from Bow’s consideration. Instead it seasons folk music and folk music topics with these influences like mozzarella on your restaurant pizza; the album ends up partly straddling magic and folklore, and also a celebration of the natural world.

For example, “The First Red Leaf of Autumn“ opens within the context of a relationship with reference to the seasons. Bow almost seems like the subject of the song here. She writes with a keen eye, rather than falling into the musical rut of being surprised about how people and feeling changes she sings with an enthusiasm for change and opportunity (mirroring her enthusiasm for this debut maybe?). Optimistic and indicative of an artist drawing inspiration, it is a nice opener, a subtle and enigmatic note to start.

“Grimshaw and the Fingerclaw” with it’s darker bass (Oscar South) running alongside a slightly nautical pacing and shanty structuring is an exceptional addition. The mandolin and percussion gives it a rather adventurous feel. It casts images of shady brothels, misdeeds, dark stout and Chinese dragons as it paints a picture of urban shadow and inviting further examination. Spending much time showcasing the fantastic cymbal crashing, weaving soundscape and evocative flute (Victoria Wasley) as it does; credit should also be given for the wonder-baiting and silken voice of the lead. The quality of the mixing with the vocal harmonies is superb, it might take you a while to fully grasp it’s intricacies as you follow the strong melody but there is so much fun to be had listening carefully and making sense of this number. It is like a flint sparking the mind, and the sparks are the wonder spraying outward.

“Edith’s Song” follows the previous track (it directly references the characters) but takes things out of the urban and into a kind of monologue being sung by the central witch character. It is one of the best songs on the album, not just because I am a fan of witch songs. It starts off with a kind of ambience that could go a number of ways, like a nameless spell it isn’t obvious at first how the song will take shape. The guitars tease that it could be more of a blues track or a gloomy instrumental; throughout there is a low hum that waits like an owl about to dive for prey. It then moves from a stirring introduction; the drums beat a sweet beat (Daniel Logan) and the wind blows (Saydyko Fedorova) as it takes flight. Bow’s voice once again reaches out and this track is a fine example of the observations about nature she makes on her debut work as she ropes in this imagery. Truly a gem of nature folk with it’s lyrics, “call me a flower on the water with pebbles that float in the rain” it is a heady mix of mystical vocals with a penetrating quality like an Arctic Wind.

There are a few other musical stops that are made,“The Wisdom”  (which has recently been released as a single) is more of a self-healing, encouraging simplicity in thought about making one’s own mind up about things, “He preached the word of God in the market, but I didn’t hear it, it left me cold”. Cold in word but not especially in sound, the strings sound particularly warm here and a certain fragility is wrought from the material with the singer’s voice. This track certainly has wide appeal, there is a thin veneer of acoustic pop and indie folk here too as the trumpet keeps it’s company in the corner. Not quite as “showboating” as it does in much indie folk, it is quite an asset in Charles Sweeney’s performance fitting nicely along the lyrics and meshing together pleasingly. There is also “Hey Auld Friend” a find of shamanistic, urban folk-rap that reminds me a little of the musical opening to “The Affair” (Container). I say shamanistic but maybe humanistic is a better description. A bit of a bluesy protest it eschews religion and places quick-stepped and varied vocals to honour the memory of others. Among the guitar and wider instruments there is a certain satisfaction in viewing the world through the natural prism of the album,  “I wasn’t fashioned from the bone of a man, and I’m content to be erased by the sea and the sand.”

Mention must be made for the final track for “Prairie Madness” is just a joy to behold. Whatever you read into the mixed light/darkness, introspective/moral parts of the album, there is little ambiguity in its closing call with old time number about waiting for a father to return, “his cart is green and yellow and his horse is mottled grey.” There is reference to clapping, there is clapping and banjo (Jamie Francis) makes an appearance cheering as the song bounces along. One might remark that the song doesn’t really fit but it goes out on a high note, and if ever there was a song that stirs memories of Charles Ingles (Michael Langdon), then this does it. Very jolly, worth a listen.

Spoilt for choice on an agile album that seems like a project borne from a hard-earned happy place, it is a very good debut indeed. I say this with compliment as often people consider that misery and depression are your best bedfellows when writing music, this is proof that this is not always the case. You can almost hear the snapping of jungle vines as Bow escapes the uncreative clutches of teaching and throws herself at any musical resistance like hot knife through butter. Having brought the best sensibilities of her musical inspirations and the positive, engaging vibe of earlier decades we see demonstration of her energy is like a serpent, quite playful, dark in places and full of conviction. It is with great pleasure I recommend Elfin Bow’s debut.

You can buy the Elfin Bow album here: http://www.elfinbow.com/shop

 

 

Categories
Album/EP Reviews Americana Debut Indie Folk

Almond&Olive – Standing at the Precipice (Album Review)

 

 

Almond&Olive deliver an earnest and lyrically intriguing debut with a strong character and rapport in voice

Having released this debut last Friday (27th January 2017), artists Almond&Olive that consists of Natalie Alms (Almond) and Ollie Davidson (Olive) are no longer standing at the precipice but have taken a good look and lept over to meet whatever fate is on the other side. From the production, lyrics and delivery on this album, it seems like it will be a trampoline that should help them reach even higher than the mountain they started from.

A pairing which is undoubtedly  sweeter than the foodstuff mix (though I think someone will probably try it), they are a curious couple of artists together and individually doing a lot of good for charity (particularly animal charities) and their characters come through in the photography, it certainly does not look like an exercise in ego. This is just as well as the tables have turned the other way and impressively this debut has had pledged $10,000 in just 30 days of Kickstarter, and the duo will be donating some of the proceeds to animal shelter charities (see their website here for more information). Surely there must be something more than appearances and vivid photography that has got people excited to hear from them, making them stand out above other Indie Folk efforts (of which there are many)?

At first glance and listen without attention, it cannot really be the themes within the album.  Not to say there is anything bad in choice but relationships are a well-ridden path in Indie Folk (its probably the equivalent of songs about maidens from history in regular folk of which I’ve heard an awful lot of). But with an album such as this, which takes a lot of these issues and looks at them in earnest (and sometimes considering older love) it makes “Standing at the Precipice” sound like a well-spring as it bursts a layer of burning sand and sienna scorched rocks. It is strongly situated in youth and makes no bones about dedicating the whole album to this broad theme making it an album that speaks to those in the throes of passion, but not exclusively so. Sometimes it’s more excited, sometimes more sombre like a hint of heat delirium, it does what it sets out to do very well; there is something more here. Throughout there is an interesting dynamic of the duo,’s voices, the tracks have a varied instrumentation that fits each song accordingly, and the lyrics themselves sparkle the strongest amongst all these elements. The album has an overall feeling of being upbeat and interesting without being cocky about it, there is certainly some good, humble musicianship here to be enjoyed and admired. What about the tracks?

The first track, “We Will” is a delicate, dustbowl of a track. Melodic and catching it boasts some great instrumentation from the get go with it’s subtle banjo building into a much larger and incredibly appealing soundscape of big drum, brass, guitar and fiddle. An optimistic track that looks to two people spending their lives together, Alms’ voice is sweet with an expressive edge, a bit like buttercream which is soft and slightly grainy in all the best ways. The pacing of the track is kept with a familiar drumming and enhanced by the other musical sections; it has some fairly simple, but clear lyrics,”I will feel your heart, I will know where to start on my search.. to carry you home.” It is contentment in a song really, you can picture two older people toasting their lives and acknowledging a love that does not need to be spoken or the reasoning kind of love which imagines and pictures a practical partnership. A good opener which continues.

The second track, “Standing at the Precipice” wastes no time building momentum from the first track. It is full of primal sounds with a scraping guitar and a shrill harmonica bringing the slight menace of risk from hurt when in love. The imagery is rather shattering imagery as it describes this scene of emotional uncertainty in lavish and welcome detail. There are some nice cryptic lyrics too, “now the sky is getting darker, the books don’t ever explain what were looking to find,” I particularly love the small touches with this track such as the “whoops”, and the emotional yearning from the vocals.

Other songs that deserve a special measure are “Can’t Stop” which has a strong bassline, along with a precise steel guitar that rolls with heat through heat through cactus adorned sandscapes. The lyrics are particularly reaching and poetic on this track, “I won’t break like a diamond in the rough, I can never have enough.. I won’t break for you” and there is a splash of a number of synth/keyboard interjections that breathe even more life into a quick number. A crowd teaser it is one of the more optimistic of the tracks on the album it will doubtlessly be a popular number on live nights.”Nadine” is another standout track. Having a change in pace there a slower drum with an excellent interplay of voices with Ollie (Olive) seemingly taking a larger role, “Nadine.. this song was a dream.. could have fooled me.” It is beautifully solemn as it explores people splitting and going their separate ways. When listening it is quite a heart-tugging number as it effectively drags up your own memories of “almost loves” and partners past to parade for your minds eye. Time does not feel like the healer in the song, but rather like a cruel needle suturing a wound which in the end might recover but hurts so much along the way.

Track 7 “Long Night” is also pretty special track with it being part a welcome song, an invite to someone’s hearth, home, and life. It gives off a kind of musky heat,”welcome me to a bed of no clothes” which Alms’ voice is like a reluctant carnality, it makes the heart race and engulfs you in what is happening. It stands at opposite to “Heartbeat” the final track. “Heartbeart” is instructional, either as someone’s conscience or as one friend to another it says that “nobody owns your heart”. The arrangement is slightly sparser giving the song to breathe a little bit more than some of the busier tracks on the album. The fiddle is essential and it’s coolness is a nice way to end the series of songs and experiences felt along the way.

Well arranged and sounding really polished for a debut album, this disc has more than a shade of Americana thrown into it’s Indie Folk mix though it takes a hard Cadillac left to avoid Stateside cliche. It instead goes for an attack of the lyrical and outshines a lot of the competition with it’s well-crafted words  and an interesting interplay and rapport in voice. Like the snakes of the Hippocratic oath symbol, their voices unfurl and meet together bringing their own styles to play. They resonate with one another in a way that grabs your attention and convinces you of the strength of their work away from the corn sepia photography and modern dress, their depth is there to see beyond a mere polished surface.

Give them a try, a nice debut and an album 150 backers certainly aren’t wrong about!

You can purchase Almond&Olive’s debut here.