I continue to wade through folk CD reviews as there are many.
The next artist I would like to talk about is Kim Lowings and the Greenwood and their release “Wild & Wicked Youth.”
Let me just say to start and paint a picture; Kim Lowings has a great folk song voice. Somewhat Traditional yet quite invigorating her confidence has come a long way in recent years and after a few years of paying in she is cashing in and sounds exquisite (unlike pensions funds). With this experience she seems to be building a committed and loyal following on the road, but then as a fellow Midlander I will of course hold a little bias.
Even though I live in South Yorkshire, I more a Midlander than a part of the scenery in Yorkshire. After all, I lived for quite a while in Worcestershire in my youth, and well.. lets be fair.. I can’t be considered a Yorkshireman until I’ve lived in Sheffield for a hundred years, have donned (more) tweed and participated in the Henderson’s Relish Ritual.. and even then they might stop me at the last moment for refusing to call a bread roll what it is. But, bias aside, Kim Lowings has created and participated something rather good here. In a straight-talking and melodic fashion, she has brought an album of unpretentious joy with a “logwood pile” sturdiness that has folk at it’s heart. If indeed it has folk at heart, it has got some powerful arteries to pump around the lifeblood of this album.
After all, it is an energetic one. The album isn’t running at breakneck speed, but it powers through like a well-tuned engine in the hands of a professional. I particularly love the sound production on this album as Dave Draper has managed to preserve the lyrics at forefront in all their clarity but there is no neglect of the full instrumental picture. Just as the high rising tide of the sea is nothing without the sound of it hitting and chopping the shore, the deeply pleasant double-bass, percussion and strings crash together like the turning of Poseidon’s right hand and sound delightful. The band consisting of Kim Lowings, Andrew Lowings (guitar, bouzouki, bodhran, backing), Dave Sutherland (double bass, backing), Tim Rogers (Cajon, percussion, drum kit) and guests Lewis Jones, Shannon Johnson and Ami Opprenova have taken this sound mix to more than a handful of traditional songs and added something rather spicy to the musical stew.
Quite tricky, and quite risky as fans of the trad don’t always like things being changed about or altered, but folk music to me is essentially adding, taking away and reinterpreting what has gone before. This album does do it incredibly well too, the songs within are strongly recognisable, Lowings et al have done more than retain the essence of the songs. If we consider it like adding cheese to a mashed potato (pretty delicious), the original is not lost; there is just something else in the mix (and the naysayer who disapproves has probably added it in other potato pie contexts). As we shall see of the songs there is a lot of substance and a lot to enjoy. On a side note the photography on this album (Miss Whittington’s Photography) will be identifiable to many folk listeners in style. This is because it’s fantastic, powerful, mythological and intriguing all at once. But what of the music?
Lowings does not hang about on this disc. The opener “In Spirit” is rather raucously pop though decidedly folk in it’s themes of the ocean and natural environment. Tinged with mythology she has (as she has done later too) mixed the two genres as effectively as one the colours on a fiendish Rubiks Cube. A good indicator for things to come, Lowings voice starts and deliciously hangs on the words, like dropping brown sugar cubes into a a sensuous, fresh coffee. Then the song takes on an unexpected bounce, the potential for the solemn becomes a determined pop hook with incredible punch, imagine a cat dancing around as milk is poured into it’s saucer. Drums hotly pepper the song as she sings about “Daniel the fisherman”, with a deft lightness of touch “My heart belongs on land, my soul longs for the sea.” No dirges or naval curses here.
Like the previously entry by Kim and the Greenwood “Historia”, I find these artists they have a certain mutant superpower for doing full-throated, unafraid, and self assured versions of well known songs from yore. On “Historia” there was a simplicity and honesty to Lowing’s version of “Dark-Eyed Sailor” but here instead we get a knee-slapping, barn-on-fire take of “The Cuckoo.” Don’t get me wrong, I love the more stripped back Mountain versions of this song (and particularly like the Rheinghans Sisters’ take), but unlike the drive for technical beauty of the former, Lowings is the fun and tumble companion, crooning away with the energy of a woman possessed, and possibly on a good roll of poker cards.
The band also (aptly as we are near Halloween) attempt one of the more gruesome, spooky versions of Two Sisters, “Oh the Wind and Rain.” Complete with dark story and a fiddler who a bit short of cash, we learn how following murder he decides to make a violin out of the main subject’s bones and hair (I haven’t got to this point yet myself, I must add). Lowings’ enjoys herself on this track and it does that fantastic phenomenon of folk where the assuring, light and chipper number stands at an equal contrast to the grim meaning and content of the lyrics. Quite strong and authoritative, especially on the anthem-like chorus there is also an great aura of emotion in her voice. There are many other moments of joy too on the album.
Lowing’s take on, “Away ye Merry Lassies” (a song about witches just on a night out, not doing any evil stuff) is pretty solid and joyous as it goes. On listen you get images of how (if it wasn’t relatively contemporary) it might be the old-time, folk equivalent “It’s Raining Men” or a Beyonce track on a medieval hen night. I picture the night involving a wheel of cheese and someone falling into a muddy goat pen after some serious intoxication; but that is just my imagination run wild, I can’t say I’ve been on a hens night. I’m sometimes mistaken as a serious man, but I would have to be a machine not to enjoy Lowings’ take on the lighter side (of the dark side), and to make it clear this is a compliment, many a night in my youth I could feel the curtain of stress float away when the Weather Girls gave me a storm update.
As an album, energy runs right through. It feels like Lowings and the Greenwood have tamed the heat of the blacksmith irons; it is not rushed but as a chicken pecks at it’s mountain of feed, the CD continues with it’s shiny eyes fixed on the prize. The best example of when the album takes a sideways step is “Firestone”, a number with a piano that is strangely sad yet exuberant. It has dashings of Kim Edgar’s in it with Lowings voice touching the far reaches of a wide oak’s canopy, a delight from start to finish.
“Wild & Wicked Youth” is a great addition to their discography and it is undoubtedly a step up from “Historia.” The album has some excellent production and the CD bursts at the seams with an energetic yet charming character, it is a flock of Will-o’-the-wisps circling the folk forest, climbing and dancing, never stopping.
Check out her website for details on getting the album, here.
If you want more convincing, see the videos below!
Hot on the heels of their previous entry “Tales from Eyam” the latest album from the acoustic duo, Oka Vanga, has arrived. In fact it arrived 31 March but let us not dwell on the time that has passed. As Spring has undoubtedly turned to Autumn with the hints of amber leaves blowing in delightful spirals, what better time is there to review an album of orange and earthy brown? Let us head in and maybe grab a bourbon for the journey while we do. First of all, who are Oka Vanga?
Oka Vanga is made up of Angela Meyer (Vocals, Guitar) and William Cox (Guitar, Ukele, Mandolin) with some input here from Oliver Copeland (Double Bass), Patsy Reid (Violin), and Mark Tucker (Percussion). Angie hails from South Africa; she met the other half of the duo, Will in London at an open mic, and since then they spin some delightful mixes of history and folklore. This is certainly the case with their latest disc, “Dance of the Copper Trail” which also channels both individuals’ love of travel. While the tracks together do not follow a linear story as you might imagine from point A to B on a map, the ideas and subjects combine into an accomplished sensory experience from history which in a way is better, it leaves more to the imagination and personal perspective. The fantastic guiding star of the double bass on the CD brings the veritable bounce of travel you might picture from the Wild West and also opens up the excitement of discovery, much like a child at the sight of a big crimson bonfire and fireworks. The wheels of this old wagon are indeed spinning on their way and as they do the sun is shining on their mahogany hue.
One of the defining factors of Oka Vanga’s previous work, the “Tales from Eyam” EP was an evident well-disciplined approach from track to track. On the disc we saw a creative and thoughtful work as a story about two people in the famous plague village from history, Eyam fall in love and then part with a beautiful yet sad tone. All-in-all it was not a disc for wandering; instead it was like a greyhound chasing the rabbit, it’s eyes were fixed on the prize. In doing so it felt like Oka Vanga either through design or just consistent writing, knew what they were singing about and stuck to it with determination. It was a kind methodical, thorough determination to telling a story and doing a good job of it. “The Dance of the Copper Trail” does much the same except there are more tracks for them to play with; so what we get is tightly, knit professional feel that expands with the extra space. It does indeed touch on the senses and imaginations of what the stories of the “Copper Trail” could in fact be, you get a big sense of the craft at work here. I liked “Tales from Eyam” it was an interesting piece; but the scope, delivery and writing on the new disc is even better, there are several opportunities to inhabit the idea of travel, the Old West and folktale.
I am keen to talk about the tracks and sound, but lets say something about the artwork. I love it. The browns are like rich grizzly leather and there are reds like vials of turmeric, rusting iron and the aforementioned scraps of copper being forged into tools. The cover has the iconography of a boat, a bear and the sun, it looks very much like a storybook; it is incredibly cool. Credit to Coildesign.net who have surpassed what you would reasonably expect for an album cover, it all helps create the environment which Oka Vanga are looking to share, and it is the first step on the dance they are choreographing.
The opening track, “The Wicken Tree” starts as a mildly mystical expedition into the Rowan Tree and it’s place in myth and history. It ponders, Angie’s voice reverberates, the fiddle seems to lurk in the shadow a little til the final third; it all works very nicely. Not bombastic and overtly energetic as an opener, but the Double Bass hints at the positive vibes to come. It is slightly shamanistic, there is myth at work as the lyrics entangle our irrational fears and those of our ancestors. I like the exploration of the track and way that it sets the scene. Another track where it seems the song skims the reeds of the mind is the deep, winding and rather spiritual apex of mandolin and tremolo guitar in “Song of the River.” Here Angela Meyer’s voice hearkens, speaks into the black stillness of the Deep South and stirs the surface magic. The wonder you expect is at every turn, and this is further enhanced but the particularly nice mandolin on this track, this should definitely be an inclusion to keep for future works.
It’s not all in the mind though. In fact the album feels very earthy and physical. The joy of nature and the world is really let lose on track 2, “Capercaillie” which kicks it up as a joyous, old-time song about a bird that sometimes sounds likes a horse. Much like the grouse of the song title, the duo are “flying low in the sun” with this song. Shades of sunshine and the playful side to nature come to the fore, it is smiles all-round. It has the strength of familiarity, a good looping structure and a fun subject matter. It is the kind of track you might expect your young child to like the most from an album, but just treating it is as a song of this level belies that there is some delicate and speedy mandolin at work, and a great warm, universal appeal at work.
For myself, “The Devil Inside” is the standout track on the album. From the opening you might not be sure what is about with it’s mellow enticing work, but like a flash this gives way to a more urgent, celerity with a doom-telling voice, evocative fiddle and omnipresent double bass. It is a track about a semi-mythical female pirate, and as you listen this becomes more and more apparent with it’s talk of the “seas” and the “wind.” You can almost see the shark on the horizon. Even with the sea aspect put to the side, it still feels like a timeworn story from the Americas, and be equally considered a dust-bowl allegory of faith. What we get is a woman with sass who turned heads, knew her mind and possibly broke a few hearts with her flintlock pistol along the way. It is a warning to those good, law-abiding 17th Century sailors but also a bit of a motivational work, “40 years you’ve waited.. to be Captain of the Seas” that tells us that hard work and perseverance pays off. It is actually quite a venerating little ditty which generates awe and power in a woman I previously knew nothing about, and is a joy across the board.
Mentions should also be made for “Out of the Fire” that deals with the main singer’s transitions of thought, the acceptance of stepping back, and returning to music-making that feels as in place as everything else on the album. The final track, a version of Sister Rosetta Tharpe’s gospel song, “This Train” is a lovely bookend to an album bulging with auburn wonder and surely a great crowd-pleaser wherever Oka Vanga goes.
There is variety, yet it all ties in nicely. More importantly there is a spirit of optimism that runs through the disc. Much like the gold panning miner who finds a nugget, the authors of this work have taken an entrepreneurial approach and taken a gamble. Well it has paid off and the result we have is an incredibly listenable album that is tightly managed and has a pretty rich, consistent sound that could not conceptually fit it’s theme any more than it does, it’s great. Mystical, magical and earthy it’s feet are firmly planted on the ground and it’s taking us on a trail of discovery.
Here is to the road!
If you would like to listen to some samples and find some more information, go to Oka Vanga’s website here where their album is available.
Also, take a listen to this sample below, taken from Oka Vanga at the Village Folk room from Derby Folk Festival 2017!
Ahoy! Circumstances all over the place and a packed schedule of festivals has meant that I am on the folk treadmill to returning to writing about the music I love.
I am not very far along it yet, but one event I wanted to talk about prior to the last festival I attended is the “Dovetail Trio” at Village Folk in Chellaston, Derbyshire. For the sake of the the vast gulf from when I was able to see these lovely people and my report, let me head this post up with “Better Late Than Never”.
Some will say 2015 was a good year for folk, others will shake their head in disagreement, and many will probably not remember at all. I admit my memory is like a like a cheese grater where the bits of cheese stuck between the gaps is all I can hope to retain. One thing I am sure of however is that “Wing of Evening” was a a fantastic album with a ferociously collected energy and traditional charm. This album with Leveret’s “In the Round” are two albums that have made me put down the lager and reach for the warm bitter and grudgingly accept that traditional folk is no bad thing. This is not much of an embellishment, after first hearing “Wing of Evening” I went and checked my temperature to be on the safe side.. the only fever I had was “folk fever” (you probably didn’t hear that here first). So all-in-all I have wanted to see the Dovetail Trio for a good while, and being here at Village Folk to witness them is a very good place indeed.
It continues to be an intimate venue with some great acoustics. For myself it is as good as folk music can be in a small venue as it is a friendly environment without being too harrowing for newcomers, for the casual there are few rules to learn apart from sitting back and listening to some great tunes. On this occasion it isn’t full to the brim, more the pity really for if you haven’t heard of the Dovetail Trio you invariably would have seen the one of the artists in their other great folk projects.
Comprising of Jamie Roberts, Rosie Hood and Matt Quinn, “The Dovetail Trio” are a likeable bunch. Young in their years, earnest in their skills and with a focused presence there is little to dislike. Rosie takes lead vocals (for the most part, but not always), with an added guitar (Roberts) and concertina (Quinn) in the mix too. Much like their website they go for simplicity and clarity by playing well-known songs exceptionally well (with some original ones thrown in the mix too). If folk music is like a sack of apples then the Dovetail Trio is the rush of emotion you feel seeing a snake leaping out the bottom of said sack (do snakes eat apples? Please tell).
Their set was very good indeed. They play some excellent numbers from the album including the especially tearful and grim “Frozen Girl” (you can probably guess how that track ends), “Poison in a Glass of Wine” and the historical, charismatic “The Rose of York.” It wasn’t all songs from the album though, I particularly notice the rip on the “herring song” (presumably the “octopus song”) which hilariously details the uselessness of the Octopus’ limbs one at a time. The humour is constant throughout the set. If they aren’t discussing the best ways to evaluate pubs (quality of chips apparently, CAMRA should re-evaluate their life goals) then they are putting in their shout out to Robot Wars and the Tree of the Year competition (all fine shows, I did in fact vote for a tree in that competition but not a British one- boo, hiss). They sound great together and seem academically interested in the construction of folk stories as they enjoy telling us the origins and parts of what they perform. There is a lot of zeal for this whole area, particularly from Rosie.
They played some personal favourites too, their version of “The Lady and the Soldier” (or “Bold Grenadier”) is a a stark, sweet number with the the soldier of the piece being rather sad about giving up strong beer for wine or whiskey in his travels, but hopefully not the woman he is having his way with away from his “beautiful wife.” The traditional element of “The Dovetail Trio” is really good, Rosie certainly sends up the audacity of the sailor prior to the song and then gives it a care and non-judgemental revelery of the number in performance. The “Oak Tree Carol” was also very good, and crowd favourite “Two Magicians” is as good as ever (and in my opinion one of the best versions of it going).
So a very fine gig indeed. How else can I describe The Dovetail Trio? A band with loads to offer. Their reverence for older numbers is matched only by their energy and vigour, imagine Batman’s butler Alfred really polishing the silverware and bringing an immaculate sheen to the household treasures. If anyone can convert a traditional-sceptic it is these guys. I would recommend the album if you have missed it already.. and keep your eyes open, I am sure they will touring again in the near future!
If you have missed the album I would recommend getting it, go to Rootbeat Records here or check out other popular stockists!
Village Folk are a top bunch, so also check out their website here for upcoming events in particular their upcoming presence at the urban extravaganza that is Derby Folk Festival! (website here).
Check out one of their old promotional videos below:
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 akaElfin 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.
It was a few years ago I saw the Roving Crows now. I remember in Bromsgrove.
Not far from Ledbury (their home turf) andalso not far from where I spent my youngest years (in Kidderminster); it was an interesting experience when I was relatively new to folk.
It was not just an introduction to the band and the genre but also the Artrix, a venue that looked like it had descended from space. Modern with sleek edges, its appearance did not match my initial thoughts and with it I brought home a new interest that had developed far away. This was a surprise.Another surprise is Roving Crows’ new album “Bury Me Naked”. I liked the Roving Crows when I saw them but I can’t say I loved them. However, coming one full circle (with many more to go) I can see now that their new album (along with their music) reminds me that social and environmental issues can be “rocked” and “jammed”in music as much as quieter acoustic numbers in the corner of a pub and still be polished and interesting. And so a change of heart has taken place.
“Bury Me Naked” is a fun album. It doesn’t just stick to folk, it goes on a whirlwind tour of pop, rock, and reggae blending it together in an attractive package. There is a mix inside the packaging too. I like the rather earthy photography within the album sleeve; bright and bold it is a contrast to the sharp dark lines and concert photography across the front of the album. It is almost telling you that they are live performers first of all with a hat tip to the social causes they are supporting with their music and tour (drinking eco-friendly water, recycling and vegetarianism). When listening to the album along the way these themes do explicitly rise on the disc. “Refugees”, “Revolution” and “human Regret” you could say the three R’s.
The title track of the album “Bury Me Naked” is great folk rock. After the introduction segment of the song, it really gets going, punching the air as it continues. The fiddle ambushes from the side and an early listen to O’Neill’s voice is smooth and spectral giving it a slightly otherworldly feel. Instrument-wide there is a nice variety between the drums and wooden percussion (Tim Downes-Hall) that scatters down the tracks like the softer patter of a wolf. There is also a bit of menace from the electric guitar as the singer croons, “you said love was a weakness, you’ve got me on my knees.” Taking influence from Native Americans and their suffering it sounds like a scene on prairie land with nature and wildlife all around. It is quite interesting, it changes pace as it casts it’s entrancing spell; it has an epic Celtic Rock spirituality with it’s reverb and hefty backing sound. The same atmosphere calls over to track 2, “New York Love Song” except of course more suburban and with a greater interplay between singers Paul O’Neill and Caitlin Barrett in the vocal department.
“Refugee” is reggae. It doesn’t disguise this, it just is. Sometimes the best things in life are clear and straight and it works a treat here where opulent drums meet with an unabashed fiddle. Being uplifting and a part of a time in history that is still dealing with refugee affairs and how they impact on society, it does stand out as being different to the rest of the current crop of songs about refugees with it’s more sunny outlook. This might bother some people but not me. It does kind of appear from nowhere, you don’t automatically expect reggae but there is a cold place in your heart if the upbeat “sail away.. war-torn refuge.. world does not understand me” rhyming scheme does not put a smile on your face. With a great harmony (the best harmony) on the disc and exquisite fiddle from Caitlin Barrett (as always) it is more than a great addition. “Passing on the Love” is similarly like an Irish Coffee and a Bahama Mama being spilt together by the waiter in this joyous Caribbean mashup. Later on it descends into a kind of Celtic Dancehall track you could do some ska stomping to, it all civilised though and is a treat.
“If I had to choose” is an example of a standout track from the album’s which appeals to a slower, more considered melody. Paul O’Neill sounds at his best and the instruments blend together for a lyrically short, but expansive feeling piece of penultimate entertainment with lines such as, “If I may be so bold; all that glitters is not gold.” It’s rock sound appeals more to me than the more monologue sounding “The Last Breath”, though the latter does carry some beauty with it. Quite distinctly introspective when the track comes on the album it is like that moment you drop a needle on an old Blues record and await the the searching intake of breath before the evocative lyrics.
As previously mentioned the identifiable sound spiritual Rock permeates through many of the tracks here. With this we don’t get the same kind of feeling of remembrance you find in a lot of folk music where a story is told, the moral is clear (or hazy) and we never forget what has happened. Instead much of their sound is like an echo of a unifying cosmic energy that people can approach and understand on their own terms. It all comes to a head with their working of an old folk staple “Ride On”, the final track on the disc. It is large scale, it is quite resounding and heart-pounding and the arrangement brings a lot, burning an impression like an Eastern Desert’s winds on your face. Barrett captures the ballad sensibility well, wearing influences of alt-rock and dare I say, a quiet grunge in her consistent vocal performance that rises and falls delightfully. One of my favourites, it demonstrates that Roving Crows are not just a band striving for identikit energy tracks that you cannot distinguish on an album, but instead considering fast and slow, thoughtful and energetic in equal measure.
A nice mix of genre and with an spirituality and concern for the world, the Roving Crows set out and have a good time with it, which many would consider contradictory. But it’s not, they entertain and achieve buckets and buckets of likeability along the way.
There is also a good range of tracks with some being more about melody and others more about the words. Jovial and wide-reaching in scope the quality of the music production is second to none. There has certainly been a progression.
More importantly for me, they have dragged me out of the chair, unfolded my arms and invited me to dance.
The Roving Crows are on tour and “Bury me Naked” is now for sale.
Observational and considered, Lakeman collects a squad of influencing folk artists that bring his rich imagination and celebratory character to life
Released 3rd February 2017
Geoff Lakeman, in a rather circular and interesting path has recorded his debut solo entitled “After All These Years.”
What I mean of course is that Geoff is known to many being a renowned journalist for several users and also being father to Seth, Sean and Sam Lakeman; all musicians, all well known and father-in-law to equally renowned Kathyrn Roberts and Cara Dillon he has influenced some great musical talent, but he himself as never done a solo recording. I’m sure there is some saying about Salmon returning to where it was born or something about rivers and the ocean (I am not sure myself what I mean) but this personal wish to have have a disc made is a big one, and a timely one of that.
In a world where politics are more than ever discussed and the issues of truth and honesty are being debated; there is something refreshingly simple yet powerful about the contents of “After All these Years.” After all, Geoff was a veteran observer and recorder by profession (in journalism), it seems that however the world has turned Geoff would have seen and heard all and he is presenting what he knows to the listener. As a result we get an album that feels like it honours the songs within that he covers as well as the working man; it speaks from a wise, considered approach to the fundamental traditions of folk and has a pretty humble quality to it. Another way of putting it is that there are few “airs and graces” to be had here, the album is a listener and thinker not the debutante who wants to be seen and heard at all costs (and more the better for it). As a listener, Geoff puts on a quiet celebration.
Indeed, the album is characterised by it’s celebration of the past and in order to do so Geoff is joined by a multitude of artists. Not only is there family as Sean(producer an guitars), Seth (violin, viola), Sam (piano) and Kathryn and Cara (vocals) but also the well received Jim Causley (vocals, accordion), Jamie Francis (banjo), Ben Nicholls (bass, harmonium, jaw harp), Dan Crimp (whistle) and Gill Redmond (cello) also along for the ride. This crew of forces are to be reckoned with, but then they are topped off by legendary guitarist Nic Jones who sings some backing vocals on “England Green, England Grey.” It all builds a picture of an album intimately assembled with it’s supportive and close roster of characters. How are the songs?
There are some great Geoff Lakeman original works here. “Tie ‘Em Up” is one example of many on the disc where Lakeman is holding his principles dear, standing up for the fisherman with their imposed quotas and livelihoods that are being toyed with by officials, “We’ve risked our lives, left our wives. Missed our children growing up. Now we are high and dry upon the shore. On the dole – won’t fish no more.” A bouncy type of shanty and a sideways jab at authority like the latter original track “Doggie Song” (that we will see later), it would not be out of place in a musical on the stage with professional dancers in yellow fishing macs juggling buckets of fish. It oozes character as a squid oozes ink, the vocal harmony injects an infectious energy throughout and the concertina, as you would expect, is faultless. This all comes together in an even grander way for the “Rule and Bant”, a song about two Cornish miners who were trapped underground in the latter part of 1800s and the events that unfold as air was pumped down to keep them alive. It booms as Lakeman weaves the story around with harmonies that plunge deep like the obsidian earth itself and promising doom. A clear favourite that incorporates some nice touches with history.
But also there are covers that showcases Lakeman’s ear for a good tune and history in the folk scene. For example, Geoff’s version of Buddy and Jullie Miller’s sun-scorched “Wide Wide River to Cross” gives several of previous renditions a run for their money. His voice is warm with crystal clear enunciation, a beautiful trill of a vocal harmony and performed with a truly emotive mix of instruments it really gets into the corners of Americana’s dusty barn. If old folk songs were cowboys, this would a sheriff. The concertina bites delightfully across the track like the wind of a dustbowl’s cold evening nights, it is all very enjoyable and another favourite on this disc. Whilst historical in nature as it touches on other times and places, Geoff’s recording of Reg Meuross’ “England Green and England Grey” is very much of now, a political powerhouse and a commentary of the state things. It might be somewhat topical with its distrust of the “BBC” and “the NHS, our England jewel, is bartered by Westminster’s fool” but it really could be any time, especially as it recognises our British empire past. Managing to be both celebratory and critical of the state of things it perhaps places what it is to be British beyond all these events and ends with a collective call. Singing with Nic Jones shows a lovely contrast on this track, they work really well together and bring a several sided look at strength, fragility, morals and tradition to mind. Wonderful stuff.
Most importantly though, the cd never takes itself too seriously. Indeed if serious “down-the-line” folk is a bus then at a couple of points on the disc Geoff makes a stop to find a real ale tavern leading to some excellent diversions. It is hard to pinpoint the parts where he particularly relishes the fun side of “folk” but “When the Taters Are All Dug” and “Doggie Song” are pretty good candidates. The former is Lakeman at his fullest rural peak, as I picture him drinking milk with a straw hat while agricultural machinery is strategically placed in the background. Lovingly committed to the song throughout, the charm emanates all round be it the distinct twang within, the high caliber squeeze box or Lakeman’s own voice that rises and turns to the challenge. You can almost picture his smile through whatever audio equipment you are using. In all the best ways possible, you can imagine “Doggie Song” as being part of a vaudeville act. Gently lamenting on there being nowhere where his dog can go for some much needed relief it playfully paintings beach inspectors as some kind of organised cabal of fun haters and the South of England gets painted jokingly as no place for a dog. As an original track it is an interesting glimpse into the Geoff’s mind and it makes you wonder what else he has yet to reveal. It’s chorus will certainly linger in the mind, “you can’t bring your doggie down ‘ere.”
What can I say? The album is like a film with Lakeman being the ethical director, the heart and soul that shapes the performances around him. There are many other gems to be found here which I haven’t mentioned, so I heartily recommend. The production is crisp and captures a fine balance of instruments, the duet concertina is very much a star but not at the expense of the other fine performers and instruments here. He leads in an admirable way on the disc, being fearless of reprisals and confident of the dignities and rights of people. When such a moral attitude is combined with some of the most recognised performers of the day, you expect magic to happen; and it does in spades.
Check out Geoff’s site here for details of purchasing the album and for more information.
Isembard’s Wheel sit between modern indie folk and more traditional folk fare that should properly interest the industry both as a great live band and one with crossover appeal.
Introduction
The Shakespeares Pub in Sheffield is hosting some great artists; some new and some established. I don’t want to gush too much, the pub gets a lot of praise for it’s real ale, and (for me personally) a pretty extensive catalogue of whisky too. If you are in the steel city, I say check it out (go here)
Relatively speaking Isembard’s Wheel are fairly new to the scene, though they have appeared in a few prestigious places (Warwick Folk Festival), and have had a mention on BBC Introducing too. Tonight we see them for their album launch of “Common Ground.” It is a rather joyous affair with fire dancers, some warm-up acts and some great beer on tap.
There is definitely something here with this band. On listening I would say that their music could be considered a kind of keystone of folk music. It is like an indie folk band in terms of arrangement and instruments but there is a keen, natural eye that looks to traditional folk for songwriting and themes which goes beyond most indie folk artists; and this for me is pretty exciting stuff. Many an hour can be spent debating what “folk” is and lamenting on the state of live music or volume of young audiences but truly a band like Isembard’s Wheel (in my mind at least) has the potential to be the bridge or even reception room to the vast, varied and interesting genre of folk music.
Supports
Before the group takes the stage we are treated to some support acts. Acoustic singer/songwriter Jordan Wrigley took the stage first.
Jordan Wrigley, from Wakefield is a student of Law at Sheffield Hallam. He has performed during SHUfest (a celebration of talent at the University) and a few other places too. There are no dusty tomes to be seen or any interrogation of witnesses, for his knowledge of performance is up for judgement on this night.
Wrigley has an enthusiasm and also brings a quiet sensibility to his set and character. A good and practised voice, his cover of “The Banjolin Song” from Mumford and Sons benefits from being a more stripped down version of the song. I prefer it to the hit number which is more buried in layers of reverb and production and in hindsight too many expected conventions. Wrigley’s effort draws in more attention to the lyrics and celebrates the acoustic form as much as a bear celebrates honey. He also plays Paulo Nutini’s “These Streets” too laying down a consistently positive attitude throughout the course of the songs. All this being said, in the best possible way, his own songs overshadow the covers and hint at a deft hand for folk writing; for example “The Charge”, a song heavily influenced by the Charge of the Light Brigade. Quite persistent in how it grabs you, there are some interesting storytelling elements within and of the soldiers’ lived experience. With a little more instrumentation and arrangement that could bring the deeper boom and impending doom of this subject matter further to the listener’s consciousness, the song’s could shine even more and would not be out of place on a veteran folk artist’s album. He also shares an original song based on Wuthering Heights, and some more familiarity with a bit of Springsteen. It is good to see consummate ukelele play and a positive reception to this set from the audience. In sum a refreshing amount of variety, a good opening and an artist to keep an eye on.
The second warmup act is The Idolins. Somewhere between the Cranberries and The Corrs the group occupy a scene within pop-folk with a seasoning of rock. Coming to the stage with candor and some Nottingham charm thrown in, The Idolins have got a long reach and appeal to listeners who enjoy different genres; their talents have not gone unnoticed by BBC Radio 6 for example. They have a lineup that includes original member Karen Smalley-Turner (vocalist, songwriter, guitar), Nick Scott (guitar, harmony), Mark Rice (percussionist), Dukes (bassist) and Hannah (cello). “The Idolins” have a sweet sound, the voice is not syrupy in-your-face sweetness but rather an ambient sweetness; like the marshmellows in a Rocky Road. They previewed “Refuge” adding some banjo to this as yet unrecorded number. Rolling in bass there could be some comparisons made with this song to Natalie Imbruglia, though with a more social-issues subject matter, it is quite thoughtful and enchanting. A favourite for myself is their new single, “Seasons.” More of a ballad, the fiddle sounds especially good and the lyrics tangle themelves around the concept of seasons of the relationship’s temperment and life. Nicely worded and like a quiet blustery day it captures the idea and gently spins a story of colour, intensity and sadness; worth an exploration. There areplenty of other tracks to be enjoyed too including the self-professed “Skunk Anansie-like” track “Safety Net” with it’s heavier rock and “Nothing Missing” where slight world influences with great rhymes and an anthem to sing along to. A lot to like on the way to Isembard’s Wheel, check out the Idolins website here with details of purchasing “Seasons”, their most recent single.
Before we get there though I would like to give some applause for “Jackdaw Circus” who provided some fire-based entertainment on the evening. I don’t think I’d seen a firewhip before, the closest I’ve ever come to it is the energy whip in the 80’s He-Man film (I was young and my taste went astray). It was great, I’ve seen a few circus acts in the past, but these guys were something else; you can tell that they have performed in Edinburgh Fringe in the past. Funny and political and really practised, the duo of this fire-taming group entertained between artists and as performers some of the friendliest people you can meet. Their skit around different Countries was particularly good. If anyone reading needs to book some entertainment; you can’t go wrong with these contemporary Denis the Menace, fire bard types. Check out their site here.
Isembard’s Wheel- Album and Gig
So this brings us to the main act “Isembard’s Wheel” launching their album “Common Ground.”
Comprising Alexander Isembard, Edward Young, Toby Morris, Rebekah Foard, Joss Mann-Hazell we get a great combination of lyrics, guitar, banjo, double bass, and fiddle that shakes the Shakespeare, sparks the light fittings and generally throws both feet forward into the world of folk and live performance.
“Rauccous” is not the right word, but there is a lot of energy here and for a debut album from a relatively new group there is a fearless attempt to try and cram in a number of genres, and like a pirate who has ransacked the sinking ship, the gamble pays off. The positive qualities of young musicians is sometimes attributed to a lack of restraint over genre and previous traditional material, I would say here that “Common Ground” doesn’t fit this mold. It instead is a large showcase of musical forms and niches that are performed very well within their own genres and then brought together here. It is quite sharp about how the group does it, it is not an album that feels like it stumbles at any point and whilst reverent of different works, it never slows to catch it’s breath. For example they do a more than serviceable cover of “Adieu, Sweet, Lovely Nancy” with an Americana influence and layers of strings making it more of an anthem than you might imagine. As it progresses it goes a bit mad and just after the middle we arrive at Sydney Carter’s “Lord of the Dance”. It won’t be to everyone’s tastes but it bursts out and gets the crowd going, for younger readers there is actually a bit of Green Day going on in this performance (yes, I am aware they aren’t a new band ha ha). The good thing you feel from their performance and the disc is that these are not token references, there is a love for what has come before.
“Ask the Time Away” is similarly nimble number leaving with little time to gasp with a rewarding and almost pop voice awash with like the light flashes from artist’s palette, “I could make the finest work of art, it would soon fade.” More dancing is inbound with “Turner’s Bones” which has the youthful energy of indie folk of kicking a positive beat to life with it’s characteristic big drum, it’s a song that enjoys itself it reminds of that first hint of sun in the Spring that laps at your door. They are certainly adding something to the folk genre. Their sound has a lightness of touch in lyrics that reminds me of the rather prominent group at the moment “Ninebarrow” with the dwelling on the influence of the rocks, the birds and the green landscape that gives rise to inspiration and celebration. “Isembard’s Wheel” take introspective lyrics and take them down on a whitewater raft. Their sound seems very much to be situated in the Sheffield with influences from the Peaks and their songs have a naturalistic feel to them like the Green Man himself is roaming the Damflask reservoir or pottering across rocky outcrops at Mam Tor. As a local there are a lot of different landmarks and energy of the land that they have in their collective musical aura.
There is versatility in the album tracks that comes across on stage. Taking the group somewhat out of Sheffield and perhaps with Westward eyes looking back in time, “Sowain Tul” is an A Capella joy, a frontier kind of reflection of life and death that you might find being tackled by someone later in life. You can almost feel the hot wall of Arkansas air and the spirit of contentment wash over “So when I stand over my bones, ever more beneath the leaves.” It’s harmonies are top notch and percussion, foot stomps and thumps really vigorous and catchy. “Horse on the Hill” is one of my favourites with it’s adventurous and zesty series of strings, banjo, fiddle, guitar all coming together to express the burning candle of love,”you are the dawn on my day.” Possibly a prehistoric love with the “Horse on the hill” being one of the giant figures of a horse carved into the hillside from ancient civilisation, the song does what the band does best; mingling the old with the modern and making something very interesting from it. The voice is uplifting and sounds great alongside the rich soundscape and some nice touches of lyrics and melody that is inescapable, “I thought myself a man before I became a boy.”
In the flesh they are an enthusiastic group who had a large mixed-age audience. There is a lot of crossover appeal with their songs concerning all matter of subjects that are held together by a coursing tide of nature and history in it’s discourse. Their set is quite loud as a vehicle for their creative energies, the crowd are equally enthusiastic and engaging; a quiet set of folk ballads this is not. But then not everybody does that, and the folk industry should be happy indeed with a band such as this which has faceted a musical sculpture which is not just indie-folk but has a place in myth-making and traditional folk music too. Quite fearless with musicianship that combines energy and sensitivity, Isembard’s Wheel should be on your radar.
Isembard’s Wheel have a tour coming up, check out their website for details and where you can purchase their new album, or check out their Facebook Page for more details
Steamchicken is a universally fun and energetic band boasting shamelessly soulful vocals and a catchy, booming brass-line.
Chocks away!
Somewhere between a smoky jazz outfit and a blues brass extravaganza, “Steamchicken” are a group who set out to entertain, and do so in spades. Much like the wise, old traveller from a Western or the steely glare of a a wizened sensei in a martial arts movie, it feels very much like the band has seen and experienced a lot; their music reflects a fusion of life experiences, musical history and stage presence. As a result it’s very hard to dislike the work they are doing here and there is a lot of widespread appeal. Comprised of a huge roster (or is that rooster?) Ted Crum (Harmonica, Bass, Melodeon), Andrew Sharpe (Piano), Joe Crum (Percussion), Mandy Sutton (Tenor Sax), Becky Eden-Green (Alto Sax, Bass), Katy Oliver (Trumpet), Matt Crum (Soprano Sax, Melodeon) and Amy Kakoura (Vocals) it is clear there is a large brass influence to the mix, (which I love to bits). It also means that there should a bit of instrumentation for everyone (though maybe not shruti box enthusiasts). The addition of Amy Kakoura’s voice is like the aroma of flowers in a beautiful display collection that draws the crowd in and fitting along the steely harmonica and chasing piano quite nicely.
It is always a pleasure to see the chickens in action, and on this day they certainly were poultry with a purpose. “Steamchicken” come to the Bury Met to perform in the smaller space at the venue; not quite the scene from a New Orleans club basement (the seats are too comfy for example) but certainly an event and show with energy, pizzazz and a rather enviable lineup of songs to influence and entertain. It is an intimate space and like the friend you knew at school that smoked menthol cigarettes in the rain, it is rather a cool companion to the larger concert room upstairs; it felt like hanging out in the world’s best basement conversion with friends as you set the worlds to rights. On this day it was the album launch for their latest collection called, “Look Both Ways”, sensible advice for chickens and humans alike.
One of the joys with the group is that they tread not too softly upon a number of genres and gladly share in the fun with the audience. On entry to the gig, Steamchicken gave out a number of stickers (some were left pointing, others right pointing). This was not obviously apparent but whichever way you pointed (ooh err) had a bearing on how you participated in one of the songs, either as the train klaxon or some wheels rollin’ on down the track. Lets say I rolled alongside a lot of others, fun was had all round and we certainly were getting somewhere. From their years doing ceilidh and previous band reforging with Amy Kakoura, they are definitely ploughing ahead. It was a fun show, it really doesn’t take an over imagination to work out that they would fit well at a number of folk festivals. What of the music they played on the evening?
Their songs ranged from folkier numbers to full blown blues and jazz, an instrumental number and doses of the musical influences for ska. Whilst showcasing some tracks from the new album there were some numbers drawn from the band’s previous works too. Of the folkier stuff they tackle there is the folk classic “The Oak and the Ash” with some wonderfully sad piano with a voice like an expressive vine wrapped around a tree, a tightening and heart tugging presentation. From the new album, “Big Tin Horn” is a further example of them working with a sound that crosses genres. Somewhat a folk shanty, somewhat swing and also ska/jazz backing it reminds just how fun music can be. Like the friend who is centre of attention at a gathering who also drags up the mood, the energy; it is breathless, the gentle breeze and sun of Spring. The brass takes on a life of it’s own and the nautical interludes are truly exquisite, “dance to the rhythm of the marching band, dance to the coming of the dawn” (probably my favourite track from the new album). “Mary and the Soldier” was another track from the new album, one of most expressively old-world numbers sounding like it is running through a forest of expressive accordion and deep, longing song (a song Dylan and others had recorded in the past). The most committed song to the idea of folk on the album, it is folky jazz at it’s best; if they were children stealing biscuits from the biscuit barrel they would leave no trace, likewise here folk is combined with their jazz instrument leanings in a seamless way.
Another track “Jericho” is something else altogether though exactly as you would imagine with a hallowed call, soulful wall shattering melody from the brass and Old Testament name dropping, “Joshua”, “King Saul” and all the other big names from the time and place. War-like in tempo it is the heavy cavalry within a medieval army, especially so as other artists with songs that call upon this event from the Bible (K.D. Lang, Hilary Duff, Kelly Oliver just for starters) take either a more oblique, saccharine or personal narrative approach to the imagery (in that order). Steamchicken’s take was kind of “in your face”, a confident cousin telling you to take the risk to swing across a stream on a rope or the artillery firing in a Napoleonic regiment. “Western Approaches” remains a favourite, transplanting you from the certainty of things to a storm brewing on the open sea and the quickening of pace. Starting in a swing fashion, the drums call out the certainty and ebbing of the sea; then as it progresses the band blows left and the band blows right, as it takes off and picks up pace. It certainly brings the adventure of sailing forward and revels in the joys and fears of this ancient pastime and trade.
The band have put in a scattering of covers to their new album, they all fit remarkably well though and their spin on things are always interesting and add something to the track. “When I get Low, I get High” is a streetwise, urban rumble of a song, a mindful cover to include on the new album. Though a cover of a 30’s track, it does do it’s own thing and their performance showed a smoldering Amy Kakoura. It is high kicking, it growls and pounds the burning sidewalks with it’s presence, and whilst it isn’t Ella Fitzgerald’s signature bite, Kakoura’s voice reaches around and brings a class of it’s own, “My man walked out, now you know that ain’t right, well he’d better watch out if I meet him tonight.” If you wanted a snapshot of Kakoura’s versatility in soulful voice, this might be the track that you go to first. Quite possibly a monumental influence for the band name, “Ain’t Nobody here but us Chickens” is one their finishers, a swing mainstay of a song and an indicator of their vintage soul their cover is up there with the best (and their chicken impression is one of the best I’ve ever heard).
A fun evening for all really. There are always several head nods to yesteryear but the band themselves carry a fresh, vibrant strength of voice and backing. There is a lot of variety here, a very good fit in musicians and throughout the set several “spotlight” moments where an “old time” glamour is presented on stage and you lose a little sense of the present. A great venue, a great band, a great night (for everyone).
Steamchicken’s new album “Look Both Ways” (released on 10th Feb 2017) can be bought here and they are doing a few dates later in the year (check here)
Once again I was released from the steel gates of Sheffield and able to descend the long-winding roads to Derbyshire. There I went to see the latest artist “Harp and a Monkey” to perform for a throng of rapt Derbyshire people at the “Village Folk” session in the The Lawns Hotel, Chellaston. Continuing to draw crowds and some distinctive guests (Sam Kelly and the Lost Boys next) it is an honest pleasure to have travelled to see a great venue and lovely bunch of people that are really doing things right. Furthermore, they will once again be at Derby Folk Festival this year (as will I); so if you get a chance (and can get a ticket) get yourselves down to Chellaston, site here and to the Derby Folk Festival, (see here).
On this day it was “Harp and a Monkey”. Before the gig, I cannot say I had heard their musical repertoire before, the name conjures images of either the most exotic folk group or a children’s book that encourages the shyest of animals to take up an instrument (it is more the former, but someone should write the latter!) There seemed a lot of bustle before the performance; social media and conversations seemed to revolve largely in excitement around their anticipated rendition of “The Molecatcher” (Roud 1052) largely associated with Bernard Wrigley (with an awesome singular voice). On reflection, this was indeed well justified; but before we get to the heart of historic infidelity and why wronging people in dangerous professions is a bad idea for your health (and pocket), let me talk more about Harp and a Monkey.
Dressed as if going to find the Mancunian equivalent of the Haggis creature they cut a rather interesting sight. Lancashire with a capital “L” they are rather good ambassadors for the county, it is pleasing to hear songs around local industry and history, and they have found an eclectic way of telling these stories. Lead singer, Martin Purdy reminds me an awful lot of Christopher Eccleston. Perhaps if he weren’t playing a tune and singing he would be method acting as the guy who is soon going to unleash all crazy hell on some poor soul. As it happens he was rather more collected and (as per his stories on previous feedback from folk veterans) he instead gave his furious intention and movements to the glockenspiel instead of a line of dialogue. He certainly gave his glockenspiel all he’s got; you don’t hear enough glockenspiel really in the general sense of music. Harp and a Monkey do present an awful lot of glockenspiel but all of it welcome and part of the overarching charm is how it’s keys allow us a glimpse into some of the different characters of songs. The last time I heard it being played with great effect was Princess Chelsea’s excellent “Lil’ Golden Book” album and that was 2011 (and it’s not strictly speaking folk), so kudos to the group for this choice. Along with the banjo, guitar and sometimes the aforementioned harp we get a wall of sound that illustrates tragedy (e.g. The Manchester Angel) or even some sweeter sounds (Flanders Shore), and this continues with their addition of electronic sampling and voice. These later inclusions permeate through several songs and give the air an otherworldly feel to the extent that when listening it sounds a bit like the veils of reality have been shaken and you are peeking into a parallel world. This other dimension would be one where mainstream folk went somewhere slightly esoteric in the 80s and never stopped for air to the present day. It is a definitely something to experience, and also something quite evocative.
This is all great stuff, “Harp and a Monkey” use some quietly, elegant application of their instruments throughout which leads to a rather unexpected but solidly authentic capturing of the tone and subject matter of their songs. The idea of folk music that tells stories is always appealing, and “Harp and a Monkey” have a few to tell especially as their set splits across their earlier and later work, as well as songs from their work, “The War Show” taking into song some accounts of the first World War. They do cover a lot of ground be it people’s experiences in the war “The Soldier’s Song” or the heartfelt tribute of “Bowton’s Yard”, a putting to song of Samuel Laycock’s poem about his neighbours at Stalybridge, a textile town. The band’s version of this is quite homely, celebratory and proud; it has a chasing glock, and successfully paints a bird’s-eye view of ordinary people living in a street and their lives. It’s warm vocals and roots in describing community is a great addition to the set. “Pay Day” likewise touches on these themes as it exemplifies the workers laments, “oh no you’ll never know how far you’ll fall, oh you’ll never know how deeps the hole.” Some slightly understated accordion, crisp banjo and accompanying guitar build a nice, slightly jaunty track amongst a set with a reasonable amount of darker material.
Speaking of the dark, “Willow and the Ghost” is a favourite of mine. A song about a ghost sighting and a tragedy is probably as folk as you can get in this musical set and in the genre fully. That being said there is something rather stripped back about it here. It isn’t the arrangement, because the glock, banjo, and guitar are quite a moving storm and when joined with some background samples you could believe that it was a folk turn for “The Human League” (going back to the earlier analogy). Instead it’s main appeal is to do with the content (though it is performed very well too). A song with melancholy, it is itself a spectre as it has the sad visage and a fatal accident within the lyrics, but unlike many songs there doesn’t seem to be a resolution; nothing is learned, someone’s life doesn’t suddenly prove worthwhile, and the skeletons of family history are not laid to rest. I quite like the fact that it is stark and simple in this regard with the lyrics, “there I saw a young girl slip into the deep” and then it turns particularly miserable, “I saw her drown, I saw the dress weigh her down.” It doesn’t let up, “Harp and a Monkey” should not stop writing these songs, that’s for certain.
So as mentioned at the beginning of this page, we have to talk about “The Molecatcher.” Coming with as much menace as you like (and then some more); the band’s take on the cuckold’s reaction to a young man visiting his wife is pretty grey in morals. The harp is eerie, the whole affair sounds like it is wrapped up in a fairytale as much as history, but the type of fairytale where right and wrong has no place. After all, the Molecatcher in the story is in every sense a cuckold, he seems content with the financial recompense and blissful ignorance of what is happening despite the trap setting for the unwitting lover. An old song and one from history showing people at their most complex and morally ambiguous, the group do such a good job with their interpretation with the odd jangle here and a grim turn of voice that somehow casts judgement on the listener as if asking “what is wrong with this scene?” It will clearly ring out in times and years to come with it’s catchy, black nature,”Woe to the day, woe to the wedding vows, woe to the day”. In absolute contrast, the set finished on “Katy’s Twinkly Band.” Conceived following a comment by a young daughter at the pub that the band started playing in they have imagined an upbeat song to match what she called them (the “Twinkly Band.”) Ending on an optimistic, child-like and light note it talks of the sea, the birds and a kaleidoscope of other imagery it sets. Perhaps there is still time, perhaps it is the “Sasha Fierce” to their “Beyonce” but instead with the grittier role being the everyday, and the cheery the other face? Either way a humorous and exceedingly sparkly entry.
Who will like “Harp and a Monkey”?
Fans of history to be sure, my review has barely scratched their works around World War I (and there is a lot of poignancy to be had there).
They are not a standard setup by any stretch of the imagination, but their songs are gloriously steeped in the family and working class to the extent that it takes centre-stage throughout. Furthermore their sound is very needed; folk with some modern influences, but ones that actually draw a lot of emotions that are often neglected in this material through the glockenspiel, harp, and banjo together. When playing the stage becomes like a kind of human echo chamber, it is how you’d imagine people’s stories travelling across space and between the stars, there is a certain beauty in the darkness and “Harp and a Monkey” has found it.
Check out their webpage here, if you are interested in upcoming Village Folk gigs, please go to the page here.
See a couple of samples below (the first from the excellent Bury Met). Give them a go- they are on tour too, so check out if they are playing near you!
Hi all, I have had a large number of EPs sent in my direction and have not yet had the pleasure to talk about what I have really enjoyed this fine year, so here we are. As usual with my EP reviews, time and space takes a backseat to my appreciation of what comes through; so it’s all wibbly-wobbly, but no worry!
Whether it came out last week or last year your music is equally due to be gently served (but not viciously skewered) into tasty shish-kebabs, so without additional theatre and setup let me instead dive headfirst into these little musical snapshots that have played through my speakers as of late.
Robert Nottingham is a folk/alternative musician from Manchester. Since his 22 years there he has moved southward and now lives in London, travelling south and from the sounds of it bringing a lot of influences with him. An inventive man his website talks of his use of a self-made instrument setup “The Nottingham Jangler”, a variation on the Suitcase Drum which he uses (with tambourines too) on his guitar case to cover more instrumental bases in his performance. He has one LP under his belt “14&28” (2016) and now returns one year later with a five track EP called “An Unwanted Man”, does it fare as well as his transition to the Capital?
The tracks are characterised by a strong guitar throughout and a nice range of song styles that fall into Nottingham’s musical shopping trolley. It feels very “first-person” and wholeheartedly embraces the people of which the tunes are describing. “Run Like the Wind” seems like the fun-loving evening party-goer, “You Don’t have to Worry” is the irreverent but downtrodden man, and “An Unwanted Man” is an enigmatic sort of person. Each a shade of character; each surrounded by an urban Manchester haze that pounds through the pores of this work in the best possible way.
“Run Like The Wind” is a jovial number. It swings, it rolls down the stairs and sounds like a continental race in minis. The guitar and drums in the tune chase like the heat in a sweltering Scoville-filled curry; there are flashes of other strings too. It is a wonderful, lovable clash of fun. Think of an Ocean Colour Scene song but ramped up, elevated to it’s maximum pace and played over the film In Bruges. Tightly woven but also chaotic the song points at some interesting thought processes behind the writing of this work,giving it meaning and making it a worthwhile listen. The whole disc is well produced on the whole and the sound mixing is really good too. “An Unwanted Man”, the title track, has some great bass and a slightly Britpop soundscape that in it’s melody evokes scenes of wonder and reflection while also being intangible and airy like the 70s. It is hard to pinpoint the track on the disc that highlights the high level of production, but this one comes close.
“Mother” comes with even more psych-reverb on the voice. The guitar is crisp, Nottingham’s voice is expressive like a dark conscience. At first it sounds slightly shamanistic and how you might imagine the call of the Druid through history, but as you listen it creeps into the mind like a perfumed smoke. Sprayed with melancholy and disharmony, a growing sinister shade appears and you wonder if Nottingham is singing about a person in difficult times on the beginning to being a drug addict, “I will be your mother/keep you safe and warm /you feel no pain and suffering and you will be reborn.” Perhaps it is just me seeing the more shadowy undertones, but nevertheless it paints an interesting atmosphere which Nottingham’s EP has in bundles throughout.
Admittedly a surprise to me. Robert Nottingham has a few tricks up his sleeve, and with this offering it seems like he has a few yet to deliver.
Hickory Signals is an immensely balanced outfit. In it’s ranks are Laura Ward (vocals, flute, shruti box), Adam Ronchetti (guitar, percussion), Tom Pryor (violin and strings), Scott Smith (banjo, lap steel guitar), and Debs Stacey (backing vocals). Laura Ward has a delving, free and energetic voice which grasps the words and truly takes possession of them; the instruments dance bringing a natural shine to an interesting indie folk ensemble that feels like it wears the quality of tradition on it’s sleeves.
A stupendous opener, their version of James Joyce’s poem “All Day I Hear The Noise of Waters” belongs as the opening track on a full album, not just an EP. They have taken the magical solemness of the poem and added to it creating a colourful ravine of green and tambourine energy. The steady beat and euphonic flute are at interplay with the mild background drone that sounds like it represents the black heart of mystery in the depths of the poem. Hickory Signals allow this to remain and thus rise from their rendition. It’s pacing is Irish, it’s tone rather fetching and it has a strong, resonating voice that doesn’t let off. It refuses to be chained and is Joycean in beauty through and through, great in every sense of the word.
“Here I am” is a banjo-laden second track. It is fantastic and the backing flute brings an immense dancing joy sounding much like the tune of Miss McLeod’s Reel (a reel close to my heart at the moment). Springy and with a lightness of touch, it also contains some great lyrics, “with my mind’s eye roving, in my next life I’ll be bold and free” that will stir the darkest of souls. There is so much variety in the EP and each song feels in it’s place and yet distinct from each other. Track 6, “Irish Ways” once again changed tack, as it plays like a war-cry with an exceptionally low shout of anguish for the working man. It describes farmers being shot, blood being spilled, and strongly references the Easter Rising of Ireland’s history as it progresses it’s black story. The strings are cutting like barbed wire, the vocals full of regret and the anger of historical memory are enshrined by this affecting and modern written number, a surprise because you could swear it’s an old song. The EP covers a lot of ground as it runs and never seems to slow.
The starkness continues in their version of “Unquiet Grave.” Ward’s voice is at the forefront as it folds outwards; traditional it brings a kind of operatic violin to the mix that washes waves of sadness over you. On listen, it feels like the song is coming from the front of your mind from a close spectral conversation as the vocals come dead centre and buzz in a particularly effective manner. Overall a nice addition and one that sits well amongst traditional renditions, individuals may have varying opinions on how elaborately an artist is allowed to dress up their version of a song but I feel they get this quite right here without over-stepping the mark.
One of the more “folky” of the EPs I have examined this time, undoubtedly one of my favourites too, check out their website and do not miss them.
Released last year, Velvet & Stone’s EP of “The Storm” carries some interesting influences on it’s nautical bomber jacket. Having played at Cambridge and Sidmouth Folk Festivals, and more recently Celtic Connections and Balcony TV (I love Balcony TV), their listeners and popularity are growing. The leading ladies, Lara Snowden (vocals, guitar) and Kathryn Tremlett (violin, piano, vocals) are being supported by new additions Barry Muir (double bass), and Roger Styles (guitar, percussion) which bring a rather heady mix of moods and feelings to their first of two EPs coming this year, this one being “The Storm”.
Like the shifting, amber hues of a fire shared on a cold night, the music triggers a tangible sense of warmth and familiarity from the first track right through to the last (number 6). It is interesting to note though that it is not the familiar heat of complacency or your “go to” hot drink that produces this, it is rather the fire of passion, an alloy of genre heated to make a stronger substance. Take “Fisherman’s Blues” (the first track), it could simply be a love ballad about a sailor and boat coming in and indeed lyrically it sounds that way, “I would walk down by the shore, it was there I met my fishing boy / he was bonny, brave and pure.” There are some affecting and complementary vocal harmonies, but it’s choice of a slightly subdued violin, omnipresent percussion, and some cascading bass that shakes down the spine and makes it stand out. The minnow of a folk song looks more like a pink, heavy tuna on the plate when prepared by Velvet & Stone.
There aren’t any missteps here. The EP is like a fishing net which has caught the whole sea in terms of genre, but performs each influence to it’s character with some lovable skill. “Patchwork” is an indie folk track describing the kinship of two people and their lives together which stands out through it’s strong violin, gentle piano, and an optimistic, voice; “Same Old Record” is a 20’s nightclub number with jazz overtones, a wry look at the theme of a repeating life, being stuck in a rut. The strings darkly mock the subject as well cutting down like a film noire rainstorm. Track 6 “The Storm” sounds like a gusting breeze sweeping Eastern Promise through your speakers. A song seemingly describing inspiration and turbulence you could close your eyes and see a path littered with long flowing red robes in a cherry blossom grove. The Asian instrumentation and hooks are very stirring, imagine the quiet movement of water over stone walls from antiquity and you are someway there.
It can frustrate when a disc tries too much and fails, “The Storm” does anything but. It enjoys itself and relishes it’s wicked arrangement, and most of all, it succeeds . My writing is but a small sample of the quality here.,”The Storm” is a collection of emotions, feelings, and places that reach and touch the soul at numerous points. I don’t want to say any more in case I ruin the experience, I would like to leave a space for the listener to get their hands on the disc and experience the rest firsthand.
Sharon Lazibyrd – “Opium of the Masses”, “What Time is Later?”, and “Not Blue”
Sharon Lazibyrd is an artist from Somerset playing contemporary folk. Currently putting together the tracks for her well named album, “Half Shame and Half Glory” she has released some previews on Bandcamp.
The thing that strikes the most about these songs is that it is a continuum. Illustrating a mind in the midst of collecting and executing some good ideas and inspiration on her path to music making, Lazibyrd has put some effort into realising her dream. There is a lot to like about these trio of song releases (that can be heard on Bandcamp here), “Not Blue” has some impressive backing credentials with Damon and Kate Bridge (Owl in the Sun) and Lukas Drinkwater on instruments; it is these components and an interesting and slightly unusual setup that brings the big kick to the lyrics. The atmosphere and sense of loneliness are created here quite well; the arrangement does show the thought that has been put in. It certainly helps set the scene, though to my tastes Lazibyrd’s voice is not at it’s strongest here. detracting from the overall track. It feels that a little more variety in the register might go some way to alleviating this.
“What time is later?” once again comes together as a good sum of it parts. The piano, Lazyibyrd’s own ukulele, and other strings do a good job of painting an inner mindscape and giving the song a slightly more epic, universal sound like a great ship descending into fog. “Opium of the Masses” highlights Lazibyrd’s voice at it’s best form from these three songs. Quite possibly the best marriage of words, instrument, and voice brings it further towards a song with legs of it’s own. There is a slight tonal shift for the chorus which rather gently conjures images of Karl Marx (the accordion does harken to a sound from lands to the East) as an originator for the phrase and song title too. Part of me longs for the song to go more into this mythology and make it a more political piece, it’s lyrics are quite interesting though , “No-one to talk to just the phone, we’re all sucked in we’re in its’ ‘thrall”, the choice of words once again pointing to good foresight of song structure.
The three track list is a gentle clash of accordion, drum and piano that goes some way towards drawing the listener in. Undoubtedly there is an ear for arrangement and composition as Lazibyrd’s strengths, with more time and reflection I think she will begin to press the silver through the custard skin and into the rich, underbelly of contemporary folk.
Matthew Thomas Thompson – “Bird” and “Carbon Star”
Being part of “BBC Introducing 2017” and reaching the semi finals of the “UK Songwriting Contest of 2016”, Matthew Thomas Thompson has released a few tracks (with some more from his upcoming album, “Songs for Little Boy Wonder” here. From Cambridge (one of my old haunts) Matt hails and approaches the music scene with the presence and allure not unlike a carnival hustler, a folkster with a glint of knowing and observation. This comes in his performance and song writing and brings enough force of character to knock apart my prejudice of sing-songwriters who have nothing interesting to say. As part of this post I wanted to take a quick look at two of his tracks available online on Soundcloud, “Bird” and “Carbon Star”.
Entering with “Bird” there is some pretty free-wheeling, serpentine, and darkly emotional lyrics. Thompson’s voice and subject reaches the onyx depths of the track like a bucket lowered into the cold rinse of a stone well. Simple in structure, Thompson’s sound is a grey worldly mosaic being fit together underneath a thorny bush; pretty and flowing but also prickly. Finding some surprisingly good rhymes such as “ruthless beast” and “geese” (never thought I’d hear that) it is not just entertaining, but also a morally ambiguous work as Thompson sings of the jealous emotion, “strangled like a frightened little bird” in one sentence, and appealing for it to be taken care of in a following lyric. Quick but thoughtful the song is swimming in jealousy, and structurally destructive emotions. It is not an excessively gruesome work though his guitar is like the steel wire of an emotional cage for the subject involved. It is quite an ensnaring track.
“Carbon Star” is something else altogether. An acoustic, urban songwriting rap that describes parts of the life of James Brown “at the height of his fame”, it is a brave and bold subject matter. With some interesting steps, lightly touching guitar and a hint of theatrical villain in it’s pacing, it prowls quite gleefully for all to see much like the man did himself. Quite dizzying in talk, the guitar and drum sing the story of a celebrity circus, of fame and a man moving on the crest of a wave of paranoia. As he announces, “Trust no brother, but me.” you feel and think, and Thompson has opening a door into a place and a character quite successfully.
These two songs alone show a great versatility and that Thompson has some interesting gremlins that are speaking original ideas and songs to him. He is sounding great, these tunes showcase a great promise for his upcoming album.
Having been together as a group for two years, “Honey and the Bear” are folk and roots duo Lucy Sampson (guitar, ukulele, bass, banjo & percussion) and Jon Hart (guitar, bass, mandolin) who have toured around Europe combining some of their previous own works, and interests to produce a rather gentle, timber-fresh sound. Hailing from a number of places at different times such as Suffolk, Cambridgeshire, and Norfolk they have also performed away from the continent and closer to home as part of Ely Folk and Maverick Festival too.
There is some compelling guitar work here in it’s indie folk influence, though for myself the harmonies make all the difference. They are pretty much the cherry in the black forest gateaux of this work. Vivid and emotive, “Wrong Side of Me” is a showcase of the interesting dynamic between the two artists. Hart and Sampson almost go head-to-head to see who has the sweetest voice (I honestly would not know where to lay my money in a bet). Rather than offering vocals that compete with pitch or intonation there is a complimentary almost symbiotic nature to their voices as if they are bringing different views from the same person rather than from a couple in debate,”caught in between, reality and dreams.” Similarly “Pick it Up” boasts some sunny interplay between the two, describing the meeting and joy between two people and it’s transformative power as Hart remarks,”not so long ago I was washed up.” It feels like a man and wife’s thoughts, the joy and comfort of reliance and support, a recollection and awareness of how much better one’s life has become.
If other tracks are honey, “Jack” sounds a bit like the sugary molasses, and Honey & the Bear make some serious rum with this. The song starts almost with an edge of reggae and Western influence, but it truly has the heart of folk music. The guitar covers a nice range of sounds being the predominant sound that is displayed on the song’s sky, and it all keeps a good tempo and your attention while it does. About two minutes in it takes a more traditional turn as the pace changes down a notch and it feels like the relief and warmth of a well-earned rest amongst pine trees, squirrels lightly rapping chesnuts on bark in the background.
A warming, strong vocal duo who I bet bring the love on a live gig, check them out!
breathless, the gentle breeze and sun of Spring. The brass takes on a life of it’s own and the nautical interludes are truly exquisite, “dance to the rhythm of the marching band, dance to the coming of the dawn” (probably my favourite track from the new album). “Mary and the Soldier” was another track from the new album, one of most expressively old-world numbers sounding like it is running through a forest of expressive accordion and deep, longing song (a song Dylan and others had recorded in the past). The most committed song to the idea of folk on the album, it is folky jazz at it’s best; if they were children stealing biscuits from the biscuit barrel they would leave no trace, likewise here folk is combined with their jazz instrument leanings in a seamless way.
