ALBUM REVIEW: Fay Hield & The Hurricane Party - 'Orfeo'

Fay Hield & The Hurricane Party, Orfeo (Topic Records, 2012)

"Singing with a poise and gravitas that breathes life into the characterful lyrics of Orfeo, she delivers a performance that is at all times compassionate, regularly exhibiting dramatic vivaciousness, and at other times a more subdued and fragile charm... this hearty, full-bodied release embodies a substance and breadth that is likely to garner much acclaim, and must surely confirm Hield as the Maddy Prior or June Tabor for a new generation of folk connoisseurs."

Read the entire review on Folk Radio UK:
http://www.folkradio.co.uk/2012/05/fay-hield-the-hurricane-party-orfeo-plus-golden-ticket-giveaway/

http://www.fayhield.com/

ALBUM REVIEW: Rachel Hair Trio - 'No More Wings'

Rachel Hair Trio, No More Wings (March Hair Records, 2012)

"Proving to be increasingly versatile and innovative, Rachel Hair returns with her third recording, this time placing the harp in the midst of a dynamic trio, featuring the double bass of Euan Burton, alongside the guitar and vocals of Jenn Butterworth. Even in this company, it is the shimmering character of the harp and the unequivocal passion of Rachel's playing that forms the backbone of the recording, flooding the senses with its bold and frivolous spirit one minute, and with its nimble subtleties the next."

Read the entire review on Folk Radio UK:
http://www.folkradio.co.uk/2012/05/rachel-hair-trio-no-more-wings/

http://www.rachelhair.com/

ALBUM REVIEW: Cathy Jordan - 'All the Way Home'

Cathy Jordan, All the Way Home (Blix Street Records, 2012)

Dervish front-woman, Cathy Jordan finally presents her eagerly anticipated debut solo album. A more sparse offering than the vibrant sounds produced by Dervish, All The Way Home presents an opportunity to focus on Jordan's vocal prowess, and it's an opportunity that rewards the listener handsomely. A largely subdued affair, with some inspired and original interpretations of familiar traditional material, it frequently allows Jordan the opportunity to demonstrate a subtle yet utterly disarming potency.

Minimal accompaniment alongside a sparse but determined vocal restores the humanity and poignancy to stories that have long been lost within the high jinx of beer-swilling, bawdy sing-alongs. Suddenly, "Bold Fenian Men" is less a triumphant celebration of rebellion, and more a moving personal recollection of individual characters, their families and the heart-wrenching realities of a lifetime's struggle. "Eileen McMahon" is delivered as a beautifully sumptuous duet with Eddi Reader, and yields a similarly unique and solitary tale, making a devastatingly stirring impression.

With lyrics built from the excerpts of a Patrick Devine poem, "In Curraghroe" is worth singling out, offering an insight in to the loneliness of rural life alongside the rapturous joys of the sights, sounds and smells of the surrounding landscape.

There are moments of exuberance here too, nestled amongst the earnest memories. Punctuating the more candid, personal tales are a few instrumental tracks featuring contemporary compositions, written firmly within the Irish traditional style, that speak of life's pleasures with a spirit and energy that words could not match. "Ould Ballymoe" takes a fair shot at this however, offering a carefree and colourful vignette of village life.

Jordan's voice is instantly recognisable, with a diction and tone that maintains her Irish accent prominently, contributing to her distinctive, unique sound. The very fact that Jordan's voice alone has so much to offer means that the "less is more" maxim is certainly something that works well for her, and further exploration of the more stripped-back production that works so well here would doubtlessly produce a timeless, attractive and edifying body of work.

www.cathyjordan.com

ALBUM REVIEW: Kan - 'Sleeper'

Kan, Sleeper (Kan Music, 2012)

Kan are a folk quartet boasting an enviable line-up of stellar musicians who already command prominent reputations, both within the folk scene and beyond: Scotsman Aidan O'Rourke on fiddle, who has attracted much praise as part of folk wonder-trio Lau and Blazin' Fiddles; Brian Finnegan, hailing from Armagh, on flute and whistles, formerly of Flook; Yorkshireman and multi-instrumentalist, Ian Stephenson on guitar, bass, mandolin, piano, and harmonium, a former BBC Radio 2 Young Folk Award winner; whilst drums and percussion come courtesy of Jim Goodwin.

From the outset the stakes are pretty high, and Kan rise to the challenge superbly with this eclectic, energetic set. Variety abounds throughout, with moments of hushed subtlety building to frenzied, celebratory episodes, and whilst the musical flavours are predominantly those of the English, Irish and Scottish traditions, there is a worldly feel throughout the album. One or more of the quartet are involved in the writing of each of the eight album tracks, and coupled with arrangements that fuse the very best that each musician has to offer, they manage to create a sound that is assuredly distinct.

Opening track "One Two Three" sets the tone immediately with the percussion and guitar providing a fresh, avant-garde moodscape over which fiddle and whistles weave their sumptuous, traditional-influenced melodies; it's a recipe that works well. Even the frequently surfacing Celtic flavours of the album are peppered with perfectly measured percussive underpinnings that feed off the natural energy of the melodies rather than overwhelm them. It maybe comes as no surprise to note that the masterful Calum Malcolm is responsible for the mixing of this album, and no doubt the well measured balance of this recording owes much to his involvement.

Sleeper is an album that is positively effervescent, treading a path of fusion that others frequently get so wrong. Seducing with its expansive, understated moments, and arousing with its explosive energy, it's an album that will appeal to both the discerning individual listener as well as the massed carousal of a festival audience.

http://www.kan-music.co.uk

EP Review: Kim Lowings - 'Drifting Point'

Kim Lowings, Drifting Point (EP)

Hailing from the West Midlands, Kim Lowings evokes the bohemian spirit reminiscent of the singer-songwriter movement that flourished so colourfully during the late 60s and early 70s. Lowings is however anything but a pastiche, resolutely stamping her own identity on her work. Singing with a voice that boasts a warm femininity, and avoiding the weary, self-indulgent cliches worn by many songwriters, it’s a hard heart who wouldn’t be smitten with Lowings’ engaging and often breezy disposition.

Lowings’ dulcimer features heavily throughout this EP, lending a distinct sound, and adding much to the carefree spirit that blossoms so radiantly. Opening track, “Did You Ever,” transports the listener to a sanguine dreamscape, contrasting the playful innocence of childhood with the more troubled aspects of adult life. Lowings demonstrates a restless character and possibly a good deal of ambition on “Sapphire,” where she seems to eschew the familiarity of her hometown in search of fresh life experiences that carry her to distant shores.

On occasion Lowings’ writing borrows subtly from the language of traditional ballads, instilling her contemporary freshness with an unmistakeable essence of the tradition, particularly noticeable in the poetic grace with which she weaves the natural world in to her lyrics. Closing track, “The Flounder,” portrays this aspect most prominently, sounding to all intents and purposes as if it might well be an age-old traditional ballad.

This five-track EP serves as a lovely introduction to Kim Lowings, and is packed with promise aplenty that will all but ensure she commands a prominent future amongst the folk scene.

Oh, and… I think I’ve just fallen in love with the dulcimer.

http://www.reverbnation.com/kimlowings

EP REVIEW: Kris Drever with Éamonn Coyne & Megan Henderson

Kris Drever with Éamonn Coyne & Megan Henderson (EP, Reveal Records)

This EP serves as a brief reminder of the sheer power of storytelling that is harnessed by Kris Drever’s remarkable and characteristic voice. Bereft of any needless ornamentation, Drever sings with a stark purity that instils a knowing sense of sincerity and urgency in his delivery, effortlessly drawing the listener in to something that is more akin to a conversation than a performance.

There is possibly a limitless array of material from the folk genre that one would wish to hear Drever tackle, and we’re treated to several such standards here. "Parcel Of Rogues" receives a more rumbustious treatment than some of the more usual preachy readings, whilst retaining the tenor of its ardent lyrics, and a breathtaking race through "Shady Grove" gives off some truly exhilarating, frenetic vibes. A more relaxed performance is evident on Sandy Wright's "Wild Hurricane," one of those magical moments where the potency of singer and songwriter combine to achieve an exceptional synthesis.

There is an impressive range packed in to this abridged release. The assured driving force of Éamonn Coyne’s banjo sets things off to a rollicking pace on several occasions, accompanied by the sprightly flourish of Megan Henderson’s fiddle, and the commanding, rhythmic authority of Drever’s own guitar on a lively combination of traditional and contemporary tunes, positively brimming with sheer joy and energy. In contrast, Drever’s own delicate composition, “Lament for Glencoe,” offers a blissful, serenity-filled few minutes.

There’s nothing fancy here, and it may only last around fifteen minutes, but you might well struggle to find a more accomplished, more enjoyable fifteen minutes of music on this year’s release schedules.

http://www.krisdrever.com/

ALBUM REVIEW: Gráinne Holland - 'Teanga na nGael'

Gráinne Holland, Teanga na nGael

West Belfast's Gráinne Holland bursts on to the scene with this impressive debut recording, boasting confident, avant-garde interpretations of largely traditional Gaelic songs, with a full-bodied voice that instils a rich vibrancy, and broad appeal.

Opening with the rhythmic cadence of "A Bhean Údaí Thall," Gráinne's perfectly poised vocal stamps a commanding authority on the melody, accompanied by sprightly guitar and uillean pipes, infused with contemporary nuances courtesy of a prominent rhythm section. The more measured "Slóite na bhFiann" follows, with a deliciously sultry, jazz-soaked makeover with piano, saxophone and cello combining to provide a sumptuous backdrop for Gráinne's assured vocal.

"Uiseag Bheag Ruaidh" is a showcase for the striking range of Gráinne's voice, portraying tender warmth, though boasting more in the way of determined strength than fragility, and a powerful resonance that sets your emotions on tenterhooks; here, one is also afforded the opportunity to enjoy Tony Byrne's fluid and intricate guitar playing. Singing with the utmost composure over the haunting drones of the uillean pipes on "Báta an tSíl," Gráinne soothes the listener with the utter tranquillity and effortlessness of her voice, creating a celestial ambience.

The unique, beautiful rhythms of the Gaelic language rise to the fore on two tracks: "Seanduine Dóite" and "Dónal na Gréine." The former offers a rolling cadence, with a distinctively Irish lilt to the vocal, whilst the latter is sung at a lively tempo, ever gathering pace as it nears its boisterous dénouement.

The triumph of this album ultimately stems from Gráinne's vocals, though the bold arrangements and accompanying musicians add much to distinguish from more traditional offerings, showing that traditional Gaelic song can occupy a genuinely contemporary position on the musical spectrum, whilst remaining firmly in touch with its much revered origins.

http://grainneholland.com/

ALBUM REVIEW: Christy Moore - 'Folk Tale'

Christy Moore - Folk Tale (Sony Music Ireland)

It's quite possible that there couldn't be a more fitting title for this album, and not just because it's the title of one of the songs contained therein. Christy can legitimately lay claim to being the epitome of the living, breathing folk 'process'; indeed, one of the most rewarding aspects of following his career is the way in which his material morphs and reinvents to suit the occasion, be it the musicians he's playing with, the audience to which he is playing on any given night, or the more substantial reordering that arises from the growing wisdom and perception that is amassed as the years pass by. It's this very aspect that distinguishes Folk Tale as something that little bit more special: it's a snapshot of where Christy is right now, the continued story of the songs he's carried along with him, alongside the new chapters that reinvigorate and fortify his voyage.

Two particular highlights find Christy furnishing songs of tragedy with a genuine compassion, whilst avoiding any hint of mawkish sentimentality. Kevin Littlewood's "On Morecambe Bay" thoughtfully observes the fate of illegal immigrant cockle pickers, lost to the deadly tides. The narrative is remarkably evocative for placing the workers firmly amongst the local community, with the writer seemingly expressing a sense of collective guilt for being aware of their plight, but failing to intervene and warn of the treacherous dangers out on the sands. "Haiti" takes a more global view, with it's clarion call to a nation to rise up and "smile again" in the wake of the harrowing earthquake that decimated the country. The contemplative manner with which Christy approaches these songs probably gives voice and emotion to many who witnessed these events from afar.

Several pieces from Christy's 1996 album, Graffiti Tongue, receive a more circumspect reworking, seemingly holding at bay some of the anger that permeated the original recordings in favour of more considered readings that are no less disarming. In particular "God Woman" basks in a genuine feeling of warmth, whilst the title track benefits from a more reserved, melodic approach that somehow makes the romance of the story much more compelling.

Folk Tale also reminds us of Christy's keen sense of humour. "My Little Honda 50" is a light-hearted ditty, on the face of it a quirky tribute to a an even quirkier form of transport, yet dig beneath the skin and it's a fond recollection of simple times and simpler pleasures. "Weekend In Amsterdam" is a more raucous affair, with some lyrics that I daren't even repeat within these pages!

Harking back to his days with Planxty, "Farmer Michael Hayes" is recast in a more sparse arrangement, delivered at a slightly more measured pace, proving more reflective than the hearty rebelliousness of the original Planxty recording, largely owing to the greater depth and maturity that age has bestowed on Christy's voice.

Drawing together the disparate threads of artistry that inspire and nourish his life, Folk Tale draws from a rich palette taking in poetry, politics, humour and tragedy. It's a collection that is no doubt richer for the accomplished production skills and sympathetic musicianship of the doggedly talented Declan Sinnott, but it's most certainly Christy's heart that beats strong throughout.

http://www.christymoore.com/

ALBUM REVIEW: Mary Black - 'Stories From The Steeples'

Mary Black - Stories From the Steeples (3ú Records / Blix Street Records)

This is the first studio recording from Mary Black in six years, and it's a collection that demonstrates an artist in full command of her bewitching vocal prowess. Throughout an impressive career, Mary has consistently demonstrated impeccable taste in her choice of material, and the evidence presented here suggests that her ear for seeking out songs of utmost grace and beauty is as keen as ever. With a voice that has only gained in depth and resonance over the years, Mary brings her trademark warmth and sincerity, casting light and shade amongst the lyrics to create her own personal space amongst the words of carefully chosen songwriters. Never one to rest on her laurels, we're gifted songs from familiar friends such as Shane Howard, Eric Bogle and Julie Matthews, alongside burgeoning writing talents, including Danny O'Reilly and Ricky Lynch.

Sharing the stage with a number of guests, Stories From The Steeples contains three duets: the beguiling "Lighthouse Light" features Janis Ian in a perfectly balanced performance that whets the appetite for further exploration of this winsome partnership; the robust, soulful voice of Imelda May joins Mary on an affirmative song of place and belonging, "Mountains To The Sea"; and the playful "Walking With My Love" finds Mary exchanging lines with the legendary Finbar Furey. All three performances are notable for their palpable sense of modesty and mutual admiration.

Two stand-out tracks come from particularly close to home, being written by Mary's son, Danny O'Reilly. "Faith In Fate" paints a stark contrast between the sheer despair of a broken relationship with a determined hopefulness to move on and patch things up. Managing to be simultaneously bleak and uplifting with its heady infusion of hurt and devoted affection, it's a song that plays to all the strengths of Mary's typically emotion-wrought interpretation. Offering a similar cocktail of emotions, "Wizard of Oz" is a mournful reflection on the search for strength and happiness, underpinned by a dreamy string arrangement over which Mary lays her heartwarming vocals.

Fulfilling the role of storyteller, Mary excels in bringing lifelike colour to the characters of "Marguerite And The Gambler," a Ricky Lynch song that recounts the familiar tale of many a traditional folk ballad, with its gamblers, true love, misguided familial intervention, heartbreak and devastation. Those purchasing the extended version of the album are handsomely rewarded with an exquisite reading of Chris Woods' "One In A Million," a story of true love that takes the mundanities of life and turns it in to utter magic, and proving beyond any doubt that Mary remains a song's best friend.

Paul Kelly's "They Thought I Was Asleep" benefits from a tender reading, cloaked in Mary's trademark warmth, depicting the torment of a child inadvertently witnessing from the back seat of a car, the emotional breakdown of his parents' relationship. Equally devastating, though of more epic proportions, Eric Bogle's "All the Fine Young Men" is made all the more disarming, thanks to the sheer reverence with which Mary furnishes this stark, anti-war anthem.

With a little less polish than some of her earlier releases, Stories From The Steeples steps forward as an intimate, unpretentious collection, bathed in a soft but radiant glow of effortlessness and wholehearted integrity. Time will tell, but Stories From The Steeples may well prove to be Mary's best yet.

www.mary-black.net

ALBUM REVIEW: Gareth Davies-Jones- 'Chasing Light'

Gareth Davies-Jones, Chasing Light (Heading West Music, 2011)

Gareth Davies-Jones wastes no time with this follow up to 2008's thoroughly captivating "Water & Light". In many respects, it's business as usual here; but when your usual business is this good you're unlikely to rock the boat. Borrowing from the folk vernacular, married with great skill to soaring pop-laden hooks, "Chasing Light" maintains a steady grasp of humanity and nature, reinforced by an astute compassion-filled lyricism. A potent sensitivity flows through the album, courtesy of Gareth's gentle, soothing vibrato, lending a fragility that belies his confidently executed vocals.

Opening the album, "The Fields" conjures up imagery of filmic proportions, harnessing the forces of nature as a cypher for the tribulations of life and love, within a capacious arrangement that really allows you to experience a sense of escape in the lyrics. Pouring scorn on the world's more materialistic woes, and in particular the media's overhyped reaction, Gareth almost gets angry on "Headlines," but instead opts for a more derisive angle on the seemingly endless stream of bad news that accompanied the world financial crisis, bemoaning the seemingly helpless spiral of despair that ensued.

Elsewhere there is a shift to a more introspective focus; an environment where the gentler tones of Gareth's voice are particularly adept at flooding the lyrics with an intuitively emotive empathy. Whether it's on the traditional paean to his homeland, "Sweet Portaferry," taking a more global view of a divided world on "Berlin To Bethlehem," or the intimate profession of unconditional love that fills "Character," there is an unrelenting gravity that pulls you towards the very heart of the sentiments that are teased out through both the lyrics themselves, and more importantly the flawless integrity with which they are delivered.

The muscular musing of "Troubador" provides an honest account of life as a working musician, resigning oneself to the weariness of travel, whilst recognising the opportunity to broaden one's horizons through the sharing of songs and stories. Similarly powerful is "PQ17," the story of a World War 2 supply convoy, facing the perils of enemy forces whilst crossing the Arctic Ocean; these exquisitely written lyrical history lessons are fast becoming a calling card for Gareth.

Two further traditional songs receive a reworking, with very different results: "Reilly" is reborn as a punchy, rhythm-driven pop effort, whilst "Rover Of The Sea" is interpreted as a dreamy, acoustic ballad. With endeavours like this, the hand of folk can truly reach out to touch the heart of many, with the perpetual relevance of the lyrics furnished with arrangements that contain a genuine appeal to the more contemporary ear.

There really are few writers and performers who consistently perform to the standard exhibited throughout "Chasing Light," a recording that manages to achieve genuinely broad appeal, whilst keeping the sentiments of the writer so manifestly intact. Gareth Davies-Jones is big news; it's only a matter of time before everybody starts waking up to this fact.

http://www.garethdavies-jones.com/