Category: Folk Music

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

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

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

To Be Released: Late November 2020

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

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

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

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

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

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

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

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

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

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

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

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

Here is a preview of the album on Youtube:

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

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

The Wilderness Yet – Debut Album Review

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

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

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

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

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

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

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

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

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

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

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

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

Categories
Acoustic Album/EP Reviews Folk Music Gentle

Saskia – Are You Listening?” (Album Review)

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

Released July 31st 2020.

Our Pick: “Write me a Song” (Track 5)

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

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

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

There are several tunes to like here. 

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

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

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

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

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

Categories
Album/EP Reviews European Folk Music Political

Will Pound- A Day Will Come (album review)

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

Released 8th May (Will Pound Lulubug Records).

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

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

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

Bohdan Piasecki

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

Credit: Philipp Rathmer

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

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

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

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

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

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

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

Categories
Album/EP Reviews Folk Music Historical Vitality

Kirsty Merryn – Our Bright Night (review)

Released 24/04/20

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Categories
Album/EP Reviews Folk Music Modern Arrangement Vitality

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

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

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

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

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

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

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

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

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

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

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

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

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

Reg Meuross – 12 Silk Handkerchiefs (album review)

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

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

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

(Creator: RACHEL SNOWDON )

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

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

Creator: RACHEL SNOWDON

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

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

Creator: RACHEL SNOWDON

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

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

Creator: RACHEL SNOWDON

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

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

And this makes it very valuable indeed.  

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

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Folk Music Interviews

Hebden Bridge Folk Roots Festival Interviews #5 Michele Stodart

Ahead of performing at this year’s Hebden Bridge Folk Roots Festival, taking place from 10 to 12 May, we were delighted to have interview, in partnership with “Last Night I Dreamt of…”, talented solo artist, singer-songwriter and member of the Mercury Prize nominated Magic Numbers, Michele Stodart.

Q: For those who haven’t come across you before, tell us more about Michele Stodart?

Michele: Well… I was born in Trinidad where I left for New York when I was 4yrs old. Most of my childhood memories are those of the big city. Then my family moved me and my two brothers to London / Hanwell where I live now. We moved around a lot as kids must’ve had over a dozen schools. Our family, let’s say is a little unorthodox all self-employed, living every day as it comes. My brother Romeo had a band and took over the front room made it into a studio where he started playing the guitar. I was always interested, going to all his gigs. He taught me a few chords on the guitar and it was a like a lifeline for me a way of breathing. I was painfully shy growing up. I started writing songs hiding away in the bedroom. He then later asked me to play bass with him one day and that was it. Most girls my age were looking at boys, the bass guitar was my first love. I was obsessed! Then The Magic Numbers were born! Signed the record deal at 19 and we toured the world and life pretty quickly became like a dream. Still writing songs on my acoustic, Romeo convinced me to record my first solo album… it was a crazy time because I was pregnant. So there I was touring with the band 24yrs old now and recording my album heavily pregnant. I remember recording the double bass and my baby was kicking away inside me. Anyway… fast forwarding a bit she’s now 11 years old (my best friend) I’m on the fifth album with the band and about to record my 3rd solo. Life has sure been an adventure!

Q: How would you describe your music in five words?

Michele: Honest, intimate, raw, melodic, reflective.

Q. What inspires you as an artist?

Michele: Dreaming, Learning, growing as a person. Looking at the world differently, people, their journeys and stories in their lives. Shared experiences. The strength of someone, women especially doing their own thing.

Q. What can audience members expect from your set as part of the Hebden Folk Roots Festival?

Michele: I’ll be playing a lot of new songs as well as some from my solo albums. Kathryn and I have also written an album together which is yet to be released so we’ll play some of those together also. That record is gonna be something special.

Q. What’s your favourite song to perform as part of your set and why?

Michele: It really depends, it changes every night with the crowds and the way I’m feeling at that particular moment.

Q. What do you love most about performing on the festival circuit?

Michele: I like the general vibe at a festival, there’s a freeness to a lot of great festivals. It’s the open space, music playing around the corner. Also as a performer it’s always good practice to play in front of a crowd that’s not necessarily there to see you. There’s a different buzz to that when you’re up on stage.

Q. What is your album Pieces about and what’s your favourite track from the album?

Michele: Pieces is really a storytelling album it’s about many things. It was the first time I started writing songs away from the guitar. I would take myself of long train journeys, late night walks, sit in cafes on my own just looking at people around me. Thinking lots. There are songs on the album about letting go… breaking the chains that bind you. ‘Something About You’ is about that moment (the little death) of completely surrendering however scary and secretive. I’d say I’m really enjoying playing ‘Ain’t No Woman’ at the moment it’s grown so much for me that song in its meaning.

Q. What’s the best and worse thing about touring as a solo artist? And how is it different to touring with The Magic Numbers?

Michele: It can be quite lonely touring on your own. Sometimes that’s nice coz I can write and take myself off on walks and stuff, but there’s a sense of fun and craziness with the band that I love too. But I’m lucky to experience both worlds it keeps me sane. Just about!

Q. What’s coming up next for you as an artist?

Michele: I’m starting the first stages of making another solo record. This month I go in the studio for a few days just to record (demo) a lot of the songs I’ve written to work out what kinda record I want to make and what I wanna say with this one. Other than that there’s lots of various projects going on as always. I’ve been very lucky to be asked to collaborate and record with lots of artists I admire. Kathryn Williams being a big part of that. Also playing bass and guitars for Huddersfield duo O’Hooley & Tidow, Rowan Rheingans (Lady Maisery) Ren Harvieu, David Kitt, David Ford. I’ve also been doing lots more curating, putting on nights at this amazing venue in London called Green Note where my brother and I host these monthly nights bringing artists together.

Michele Stodart will be performing at Hope Baptist Church at 9pm on Saturday 11 May alongside Kathryn Williams (read our interview with Kathryn here) as part of Hebden Bridge Folk Roots Festival. For further information on Michelle Stodart visit https://michelestodart.co.uk. For further information on the Hebden Bridge Folk Roots Festival visit www.hebdenfolkroots.org.

As mentioned, this interview was in partnership with “Last Night I Dreamt Of…”, a website dedicated to arts and theatre in South Yorkshire. For further information visit www.lastnightidreamtof.co.uk

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Folk Music Interviews

Hebden Bridge Folk Roots Festival Interviews #4 Katie Spencer

Ahead of performing at this year’s Hebden Bridge Folk Roots Festival, taking place from 10 to 12 May, we were delighted to have interview, in partnership with “Last Night I Dreamt Of…”, 21 year old singer song writer Katie Spencer.

Q. For those who haven’t come across you before, please tell us about yourself?

I am a progressive folk singer-songwriter and acoustic guitarist, from the East Coast in Yorkshire. My music draws on influences such as John Martyn, Roy Harper and Laura Marling, and I owe as much of it to the songwriters of the 60’s acoustic music heyday as to the beautiful East Riding landscape.

Q. How would you describe your music in five words?

Guitar-based progressive folk songs.

Q. What inspires you as an artist?

Landscape is a huge one. I feel that we are so lucky to live in the UK, where the landscape and seasons are so varied. My consistent aim is to capture the space of the landscape into my music, and I’m currently living by the sea which is a big inspiration.

Q. What can audience members expect from your set as part of the Hebden Folk Roots Festival?

Some original music, heavily based around the acoustic guitar and influenced by the sounds of the 60’s folk revival.

Q. What’s your favourite song to perform as part of your set and why?

At the moment it would have to be a new song called ‘Roads’. It has been brewing for a while but suddenly came tumbling out of me, lyrics and guitar part all together. It has a short instrumental excerpt at the beginning which is a gospel tune called ‘Wash in this Beautiful Pool’ that I learned from listening to the inimitable Martin Simpson.

Q. Who else would you recommend festival goers seeing during the festival?

Peter Dilley & Henry Parker!

Q. What do you love most about performing on the festival circuit?

There are countless things to love. The connection with people is a great one, because festivals are a brilliant places for people of all ages and from all walks of life to congregate and enjoy their love for music together, in the same place.

Q. What can fans expect from your album Weather Beaten and what’s your favourite track from the album?

Weather Beaten is my debut full-length album. It was produced by Spencer Cozens, long-time collaborator of John Martyn and Joan Armatrading and someone who I’ve been a fan of for years. The sound of the album is clear and bright, but still has that warm and hazy folk vibe – as we aimed to capture my live performance style. It is subtly embellished by Tom Mason, Miles Bould and Martin Winning on double bass, percussion and woodwind. And my favourite tracks would be ‘Weather Beaten’ & ‘Too High Alone’, I just love what Martin Winning brought to those tracks with clarinet and flute.

Q. You often look to East Riding for inspiration, where in particular in the area inspired you and would you recommend visiting?

Yorkshire as a county is an incredibly beautiful place, and I am totally blessed to be able to explore it on a regular basis. East Yorkshire will always hold a special place in my heart, as I grew up there and I’m currently living by the sea in Hornsea (you should definitely visit, especially for the chip shop!)

Q. What’s coming up next for you as an artist?

Throughout this year I am touring my album ‘Weather Beaten’ and continuing to write new material, which is great fun!

Katie Spencer will be performing at Hope Baptist Church at 2.10pm on Saturday 11 May as part of Hebden Bridge Folk Roots Festival. For further information on Katie Spencer visit www.katiespencer.net. For further information on the Hebden Bridge Folk Roots Festival visit www.hebdenfolkroots.org.

As mentioned, this interview was in partnership with “Last Night I Dreamt Of…”, a website dedicated to art and theatre through South Yorkshire. For further information visit www.lastnightidreamtof.co.uk

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Folk Music Interviews Uncategorised

Hebden Bridge Folk Roots Festival Interviews #3 Birds and the Beasts

Ahead of performing at this year’s Hebden Bridge Folk Roots Festival, taking place from 10 to 12 May, we were delighted to have interview, in partnership with “Last Night I Dreamt Of…”, Leo and Anna from alternative pop/folk duo Birds and the Beasts.

Q. How did Birds and the Beasts come about and where did the band’s name come from? 

Leo – As well as loving music we are equally passionate about animals. We have always enjoyed nature documentaries and getting out in the wild areas around us in Yorkshire and Anna’s native Germany. The first song we wrote for the project was about how albatross remain monogamous and find each other on their island homes after their globe spanning migrations.

Anna – Once we had written this song and found we really enjoyed singing together we put together Birds and Beasts and started writing more songs. Once we realised what a great source of inspiration we had found the name just seemed obvious.

Q. Tell us more about animal themed pop?

Anna – Our songs are written to put the listener in the animal’s position. We try to focus on the things that make us the same as animals; our family lives, our struggles, triumphs and determination. We find the animal kingdom is a massive well of ideas we can draw upon but we like to keep it all relatable to the human experience too. Leo – We love a lot of different genres of music – folk, rock and roll, blues, jazz, reggae. We like the ‘pop’ label as it can encompass so many different styles. 

Q. How would you describe your music in five words?

Fun, engaging, joyful, thought provoking.

Q. What inspires you as band?

Leo – Aside from the obvious animal inspiration, the thing that keeps us going is that we love spending time together and sharing our musical journey.

Anna – Meeting audience members who love our songs is very special. Having someone tell you how a song made them feel is magic. Our last single about crows’ family lives and how they respond to a loss in the family is one of our most affecting songs and seems to connect with people. 

Q. What can audience members expect from your set as part of the Hebden Folk Roots Festival?

Leo – We take our audience on a journey. You will visit the deep ocean, tall mountains, barren desert and dense jungle. You will find yourself singing along with songs you have only just heard and joining in with the actions for our squirrel song. There will be songs that make you laugh and songs that make you cry. 

Q. What’s your favourite song to perform as part of your set and why?

Leo – I like Deep Down, the tale of a scorpion searching for a mate. I love to sing this part, the music puts me in a spaghetti western mood and it reminds me of the teenage years; out in town looking for love.

https://youtu.be/QlnMUCeOphs

Anna – My favourite is Torn Apart, because it does not have the usual verse – chorus structure and it build and builds and goes proper bonkers at the end. 

Q. Who else would you recommend festival goers seeing during the festival?

We love the Magic Numbers and Michele Stobart is fantastic, we cannot wait to see her. We also love a good sing-a-long so recommend The LandLubbers for a rousing shanty. 

Q. What do you love most about performing on the festival circuit?

Leo – Meeting people and just getting the chance to perform, it is a real privilege. 

Anna – The excitement of playing and meeting many lovely people and being able to watch other performers as well.

Q. What can fans expect from your album Entwined and what was it like mastering your record at the legendary Abbey Road Studios?

Leo – It has some of our most emotional and heartfelt songs on it. If the album were a season it would be winter as the themes are – struggle, determination, family, loss and ultimately rebirth. The cover yin yang picture sums it up nicely as the balance between light and dark, endings and beginnings.

Anna – Recording and producing ourselves was really fun and it was very nerve racking putting the final touches on it and cutting the vinyl masters at Abbey Road. Quite a journey from our studio to Abbey Road Studios. We celebrated with a drink in the canteen afterwards. We were very star struck to be on such hallowed ground!

Q. What’s coming up next for the band?

Leo – we are working on some summer sounds, exploring ways to realise different arrangements and moods with just the two of us. We have a lot of material to record and are writing new songs all the time.

Anna – there are some very exciting plans coming up for later this year, we have been filming a few music videos and really performing our sound. We have a few gigs over the summer and we have lots of things coming up…watch this space!

Q. And finally, if you could turn into any bird or beast which would you choose and why?

Anna – I would become a wolf because they are such beautiful animals and live in such fantastically remote places. Their family lives are also fascinating.

Leo – I would regret choosing anything that could not fly so if not a flying squirrel or fish it’s going to have to be a bird. Following that logic I am going to select the condor, the world’s biggest flying bird. Riding the thermals high up in the clouds would be amazing

Birds and the Beasts will be performing at the Trades Club at 7pm on Sunday 12 May as part of Hebden Bridge Folk Roots Festival. For further information on Birds and the Beasts visit www.birdsandbeasts.net. For further information on the Hebden Bridge Folk Roots Festival visit www.hebdenfolkroots.org.

As mentioned, this interview was in partnership with Last Night I Dreamt, a website dedicated to art and theatre in South Yorkshire. For further information visit http://www.lastnightidreamtof.co.uk