Tag: Oka Vanga

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Festival Folk Music

Looking Back Before Looking Forward: Derby Folk Festival 2018

A bit of street morris

It’s been a little while and Derby Folk Festival 2018 has come and gone.. in fact, as of writing it is 2019 and there is a new year ahead!

We are pretty certain plans are under way for the next festival in October 2019, but in case you didn’t go last year.. let us give you our impressions of some of the goings on, the standout performances and general feel of this late year musical mixup. We couldn’t catch everyone, so apologies if we miss your favourite group out! There will be pictures and a few clips to give you a feel and hopefully get you excited about the return to Derby in 2019!

Last year the festival spread it’s wings a little more and has extended the festival to run from Thursday evening to Sunday. We could not get there for the Thursday, but we do hear that Gary Stewart’s “Graceland” and Zulu Tradition were extensively rocking the main festival tent. We can’t speak for Zulu Tradition as alas we have not witnessed them yet, but the “Graceland” set is a very good one. We saw Gary Stewart’s Graceland at Beardy Folk earlier in the year and they sound very, very like Paul Simon. They have the bustling energy you are looking for in bucket loads and for anyone wanting to relive the time of the album launch (or anyone new for that matter) they are indeed in for a treat of the ears by seeing them live, so we strongly recommend.

So let us start with some of the acts that got our attention.

John Tams & Barry Coupe

https://www.johntams.co.uk/

A treat near the beginning of the festival, always a treat, is to hear John Tams & Barry Coope. Bringing a significant wealth of experience and poignancy to the beginning of the festival, this duo are clearly old favourites of the crowd. With pointed, emotive numbers such as a rendition of the “Manchester Rambler” (an ode which puts the highest amount of importance on this activity other all others… including marriage), the song “Sorrow” with it’s eye on loss in society and (presumably) unemployment, and also the “Devonshire Carol” (as heard in Warhorse) they bring a tear to the stanchest and toughest of people. A set that is quiet and dwells in the heart, we recommend catching these two if you get the chance.

Louise Jordan

http://louisejordan.co.uk/

It isn’t just Barry Coupes & John Tams whose music crosses into war-related music and stories. Luckily for us Louise Jordan arrives at the Guildhall Theatre with her trademark sense of class and humility, and most importantly with her excellent show/gig called “No Petticoats Here.” We have been looking forward to seeing Ms Jordan and her show every since the Great British Folk Festival we went to in 2017. We attempted to see her show in Skegness but due to the numbers, small size of the room, queuing difficulties and acoustics.. we couldn’t really say much about it. At the time of writing we are pretty certain she is working on her new show but if it is anything like the beautiful interlace of historical story, song and images we see in Derby, then we have high hopes indeed.

Conjuring up thoughts of the great war, Jordan does the job that everybody should have been asking her to do. That is bringing the voices of great women and their experiences to us to remember that we “were all in it” during the war. She certainly does and the show more often than not highlights some incredible sacrifices that were given which many would never of heard of. Not everyone is a fan of war-time related music but in fairness there is enough intrigue, guile and determination from the historical figures that Jordan brings to the fore, that it is incredibly difficult not to look on in admiration. Jordan’s voice is as powerful and empathetic as ever as well. Whether Jordan is teaching us about Ada Yorke (a nurse who wanted to be a doctor) who got the Royal Red Cross for exceptional nursing (in the song “Pride of the Army”), or about when women’s football teams arose to fundraise for children and families of soldiers (only for women’s football to be banned in 1920), she brings a sharp, observational style to her music. We can see what has been ignored for so long.

Jordan’s measured use of technology, design and choices allow the stage to be wholly about these important women. There are highs and lows, great characters and a lot of history to make this a fascinating evening show. Jordan is an enthusiastic sharer, her joy must be like a botanist finding a rare species of flower, except here the flowers are indeed the women of the Great War.

For that reason and the bright sparks that Jordan has captured from the tinder of the Great War, we consider her set one of three best things that we see at the festival.

Harp and a Monkey

http://www.harpandamonkey.com/

Harp and a Monkey in the way that they are, are rather odd, deep and certainly furrowing their own path in the folk world.

We saw them a good while back at Village Folk in Chellaston and they were very good indeed. At Derby Folk Festival they were back again within the “Village Folk” segment of the festivities. The trio performed two sets over the day, each one coursing with a signature blend of the psyche (their cover of “The Molecatcher”), the reverent memory (The Gallipoli Oak), a tipping of the hat to Charlie Chaplin’s unusual role in the War (Charlie Chaplin) and their dipping into folk themes of old (Willow and the Ghost).

They certainly have built up an impressive repertoire of moods all blending in and out of each other. At Derby Folk Festival the sound was crisp and clear, their voices are both mournful and joyful as if moving across the veil itself, bringing these stories back. Their performance also reminds that they take risks, and whilst their use of electronic sampling will be a Marmite factor, it does bring shape and form to the whispers of stories past and put a signature to their invigoration of songs.  Like a whisper travelling across the edges of your mind, Harp and a Monkey get in, reverberate and add to the mysteries of this world.

Eliza Carthy and The Wayward Band

https://elizawayward.com/

Without a question a swirling vortex of wind, Eliza Carthy et al’s entrance and reception at Derby Folk Festival is a reminder (in case you have been living under a no-folk rock for many years) that some voices cannot be contained by the constraints of nature.

Eliza Carthy and the Wayward Band have been formed since 2013. Twelve in number and probably 12 in volume and energy (sorry Spinal Tap), the band have gone from strength of strength especially since the launch of their 2016 work “Big Machine.”

Theatrical in sound, style and appearance it is a very awesome sight to behold. Ducking and weaving, jumping off the stage and bringing the feeling, Carthy and band certainly live up to the expectations from the album. They played some of our personal favourites such as, “Devil in the Woman” (a track of outrage and grit), “The Fitters Song” (a dark musical, but a number too good for any theatre I know) and the earthy, breathless “Hug you like a Mountain.” Words and descriptions do not really come close to the magic, spinning wonder and percussive excitement that you get from this individualistic band and show. It is like they bring the explosive pop of the champagne bottle to the Saturday, and we do not hesitate to put the group in our top three of Derby Folk Festival.

The Willows

https://www.thewillowsband.co.uk/

The day after In the Guildhall Theatre on Sunday we get the very big treat of seeing another rather special folk group that also comprises of some top-notch musicians. Just prior to the release of their third album, “Through the Wild” we meet Jade Rhiannon and band as they prepare for a focused, clean and intensive set. It is a show we have been waiting to see for rather a while.

Straddling a canyon of folk rock, folk pop and hints of indie, The Willows are a step into a unashamedly full, refined soundscape with a strong baseline and vocals that evoke the warmest of times. Somewhat easy listening, somewhat 90’s popular folk the limits of their reach cannot be fully measured in this blogpost; but we do manage to reach a  verdict on their show.

Before we get there, we have to think about their set. There is something here for everyone, “The Visitor” is uplifting and a pretty tasty bit of percussion, “Better Days” is a sweet and optimistic song though it winds its body around a contemplation of grief, and “False Light” a song about the ghost lights of the fens. With False Light in particular you get a song with a supernatural theme being turned into a belting, big sound event. Melodic to the last and rocking from the start, The Willows make a case for a wider sound, quite probably with larger mainstream appeal and musicians looking for something a little faster and fuller like a turbo-charged double-decker bus.

We enjoy their set and have had a good listen to their third album since; certainly an interesting and inspired choice for the festival.

Sam Kelly & The Lost Boys

http://www.samkelly.org/

There is a lot to see and fatigue can set in towards the end of a festival though Derby Folk has a secret up their sleeves. It is in fact Sam Kelly & The Lost Boys!

We do like these guys. Their folk music is unabashed fun and melodic, they are dead cheerful in demeanour and they do know how to put on a show. Most importantly you sometimes want to listen to a bit of folk that makes you feel good, Kelly and associates do not disappoint.

At this point they are probably stood on a tall stone surveying the land and maybe breathing in the fresh air as they have a couple of albums out and their initial ep, and pretty much everybody know who they are. This is a good gig to see for it is an act of consolidation and reflection. They cover several songs from both albums including the affirming “Spokes”, a song which is one of our favourite interpretations of “A Golden Vanity”, anthemic “The Jolly Waggoners” and many many more. They have a lot of good material both slow and fast and this gig certainly reminds us of their ascent into the limelight. We look forward to seeing where they go next!

Lady Maisery

https://www.ladymaisery.com/

This of course brings us to Lady Maisery. Before we get into the nitty-gritty, let us say that Lady Maisery were for us, hands down the best act at Derby Folk Festival. It is not a statement we take lightly or with any intention to downplay the other excellent acts that were there.

Why? Might you ask. It is no secret we rate the vocals of Hazel Askew, Rowan Rheingans and Hannah James at the top of their game but they brought something else which they admitted themselves had reinvigorated their enjoyment of the live scene. That is, their sound engineer.

Apologies for my failings. At first I couldn’t get a good picture and secondly I didn’t write down the sound engineer’s name. But when hearing the trio within the Guildhall, and with this level of sound production and management it is pretty close to perfect. Clear, resonating vocals and a show that takes many favourites from across their albums such as “The Factory Girl”, “Order and Chaos”, “Honest Work” and the excellent “Poor Man’s Lamentation” from the multi-artist Songs of Separation disc (one of the best works we have heard of all time).

Combining a sense of general societal political songs (not anything about the current situation thank goodness), poignant and dark tales of human beings and a sternum-shattering cohesive, beautiful sound their often (but not always) unaccompanied voices are pure magic.

For that reason they are our third pick of the festival and an act that you should not miss should the chance arise to see them!


And Many Others…

  • The crowd going wild for Sam Kelly
  • A bit of street morris
  • Kim Lowings and the Greenwood with some material new and old
  • Jack Rutter
  • What treasure exists within?
  • The Lucy Ward Band
  • Oka Vanga
  • The Carrivicks
  • The Kimberleys

There are many, many others who graced the stage who we saw and enjoyed thorough. Midnight Skyracer, the all-female bluegrass phenomenon were here continuing their explosive entry into the scene with fast fiddle, deep bass and an incredibly joyous set of songs to behold. Jack Rutterer had a great acoustic set touching on folk of all corners including the well-known “John Barleycorn”, The Kimberleys remind of acoustic folk of old: simple, happy and refreshing, and Oka Vanga have their time in the light of Derby Cathedral bringing songs of myth, nature and heartbreak.

So all-in-all an excellent festival. We saw a lot of artists here, many who we haven’t mentioned- the joy of Derby Folk Festival is it certainly gets the artists in!

Check out our sample videos below of the acts and get over to their websites for more information about them!

Keep your eyes open for Derby Folk 2019 and do not forget to get your ticket when the time comes at the website.

Categories
Acoustic Festival Folk Music Folk Stories PR Singer-Songwriter Trad Covers

Derby Folk Festival – A Roundup – October 2017

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

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

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

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

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

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

 

Rusty Shackle

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

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

 

The Rheingan Sisters

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

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

Adverse Camber – Dreaming The Nightfield

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

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

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

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

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

Robyn Johnson

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

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

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

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

Kim Lowings and the Greenwood Band

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

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

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

Kirsty Merryn

Kirsty Merryn was a very welcome addition.

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

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

Oka Vanga

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

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

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

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

 

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

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

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

 

 

 

Categories
Album/EP Reviews Folk Music Nature Folk

Oka Vanga -Dance of the Copper Trail – An Album Review

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!