ALBUM REVIEW: Jason Steel - 'Fire Begot Ash'

Jason Steel, Fire Begot Ash (Rif Mountain, 2010)



Coming in at just under thirty minutes, Fire Begot Ash is a somewhat fleeting experience, but it's certainly one that will catch your attention. Jason Steel breezes past with an effortless but intricate whirlwind of folk-blues with occasional hints of americana. It's like walking down a busy street and catching the momentary genius of a street entertainer, but with this recording you have the added benefit of being able to start all over again and immerse yourself in its rustic charms. Consisting of voice and either solo guitar or banjo, and with some of the material being wholly instrumental, Fire Begot Ash is a sparse, unassuming affair that allows you to climb in to its capacious soundscape and familiarise yourself with each secluded nook and cranny.

The instrumental tracks are striking for their fluid intricacy, and their ability to evoke the emotions about which they were written. On "Ginger Wine Rag," the feelings of friendship and bonhomie are palpable, whilst the frantic tempo of "Young People Dancing" conjures up a much more energetic sense of fun.

Nestled amongst the mesmerisingly nimble guitar work there are tender and introspective ballads, where Steel's occasionally indecipherable vocal lies somewhere between lethargy and sheer blissed out contentment. "The Black House" is a particularly bleak ruminative piece, whilst "Poppy Rosa" provides a more playful recollection of love's first flush.

It tends to be the banjo-led, americana-influenced tracks where Steel really stretches his voice, with a lonesome old-time drawl such as on "Lycanthrope Stomp" where Steel ponders the darker sides of sleepless nights under a full moon, or on "Cling & Claw" where Steel ruefully picks over the bones of a dead relationship.

Fire Begot Ash has a straightforward intuitiveness: sparing and simple, yet all the more rich for this. It's a real charmer of an album, and one can't imagine not falling under its intimate spell.

Visit Jason on MySpace here!

Visit the Rif Mountain website here!

ALBUM REVIEW: The Owl Service - 'The View From A Hill'

The Owl Service, The View From A Hill (Rif Mountain, 2010)



The genre of folk-rock is an oft-maligned beast. Since Fairport Convention's seminal Liege and Lief was released back in 1969, undoubtedly setting an immediate zenith for the genre, there have followed many misguided and disconcerting efforts. Even to this day there are many who labour under the false pretence that louder and faster automatically means better, and seemingly few who are able to enchantingly fuse the subtleties of the tradition with the energy of contemporary music. The Owl Service are thankfully adept at enchantment, and throughout The View From A Hill they illuminate traditional words and melody with the bold and fearless dynamism with which they were most likely written. Not only do they leave the very essence of the tradition wholly intact, they also hark back to the very best elements of those first pioneers of folk-rock, whilst adding enough of their own distinct ingredients to refresh aspects of the genre that are growing somewhat tired.

A tantalisingly stark and brief interpretation of "Polly On The Shore" introduces the album, with the rich resonance of Naomy Browton's cello set against the lighter shades of Nancy Wallace's concertina. This is followed by a truly stunning rework of "The Banks Of The Nile," with lyrics learnt from what might well be considered as the definitive version of this song, by Sandy Denny's Fotheringay, though set to the tune of "Jenny On The Moor." For many reasons, it's this performance that captures the essence of The Owl Service: informed by the finest proponents of the tradition, yet not afraid to experiment; making best use of the many and varied sounds and styles at their disposal, yet creating uncluttered arrangements that boast a discernible clarity. The prominence given to Jo Lepine's chiming vocal shifts the emphasis firmly to the story woven by the lyrics, over a meandering bass line, and minimalist percussion.

Vocal beauty is rather an embarrassment of riches for The Owl Service, so it's no surprise that it should provide the centrepiece for much of The View From A Hill. The pure and striking beauty of Nancy Wallace's unadorned vocals make for a real treat, and particularly when singing unaccompanied on "Sorry The Day I Was Married," bringing an authentic diction along with a bucketful of charm. The boys also add their own vocal appeal, with Dominic Cooper and Jason Steel combining strength and empathy on "I Was A Young Man," an exuberant performance, notable for the feisty interplay of flute and electric guitar on the instrumental breaks. The forlorn beauty of Diana Collier's vocals furnish "The Ladies Go Dancing At Whitsun" with a gently beguiling appeal, which is all the more remarkable when you consider that she is accompanied by trombone and recorder!

Drawing influence from celebrated innovators and contributors to the tradition, this collection serves up recognisable fayre, albeit refreshed by the medley of instruments, styles, and distinctive vocal characteristics offered by The Owl Service. Name-checking the likes of Martin Carthy, Shirley and Dolly Collins, Anne Briggs and Mike Waterson, it's a recipe that ensures The View From A Hill is able to hold the listeners attention throughout. Their bold performances embrace subtle theatrical nuances, bringing freshness and lifelike qualities to this collection of traditional tales, with a clarity and commitment that has ample potential to enlighten even the uninitiated.

Visit the Rif Mountain website here!

Visit The Owl Service on MySpace here!

ALBUM REVIEW: Lizzie Nunnery - 'Company Of Ghosts'

Lizzie Nunnery, Company of Ghosts (Fellside Recordings, 2010)



Lizzie Nunnery possesses a unique voice with echoes of the English tradition, yet spins a tale with her lyrics that manages to be both contemporary and timeless. A modern-day English maiden, singing with her gorgeous northern accent to the fore, Lizzie delivers an utterly arresting vocal with a tremolo that lays bare her emotions and may well leave you flailing helplessly in love. There is a resolute quirkiness that nestles within Lizzie's writing and performance that further builds on her plentiful charms.

Company of Ghosts is a fitting title for Lizzie's debut release; one quickly becomes aware that it's an album replete with ghosts. Secluded amongst each of the twelve songs, should you look and listen, are ghosts of colourful street characters, back-street pub drunks, past lovers, close friends, and ghosts of ones own hopes and fears. Inhabiting new homes within Lizzie's vivid lyrics, stories and characters are portrayed with a minimalism that leaves enough clues for you to piece together the bigger picture.

Opening with "England Loves A Poor Boy," Lizzie quickly hits her stride, with a derisory take on a nation's bloodthirsty obsession with war, sang to the military march of a snare drum and the more nimble precision of a ringing banjo. This is followed by "Hungry," a song that is already something of an anthem amongst those in the know, with its familiar tale of a troubled or unfulfilled love, made all the more intimate with the brusque honesty of the disappointed lover: "I starve for you inside, dance you round my head, I go hungry to bed."

"Pubs That Never Close" depicts a perpetual urge to escape the troughs of life's low points in search of never-ending parties, picking up or kicking out a few pieces of life's dirty linen along the way: "...let's all drag our parties out in to the road, let's all drag our arguments and dramas to explode." In contrast to this flagrant summons, "Concertina" offers a delightfully intimate character portrait, recounted with a manifest perception and warmth that genuinely sets Lizzie apart from less memorable writers.

The title track is an intriguing piece, with an intense, spoken narrative that evokes bold imagery, not least because it is delivered with the relentless charm of Lizzie's unpretentious northern diction. "On His 60th Birthday" aches with prettiness, finding strength in the resolve of the lyrics, as they cascade over a simple, understated ukulele.

Company Of Ghosts undoubtedly heralds the arrival of an artist with a distinct talent to offer, through the unmistakeable beauty of her other-worldly voice, and her refreshingly direct lyrics.

Lizzie's website is here!

Lizzie's MySpace page is here!

ALBUM REVIEW: Andy Cutting

Andy Cutting, Andy Cutting (2010, Lane Records)



Andy Cutting is by now a familiar name on the folk scene, whether as part of Blowzabella, or accompanying the likes of Kate Rusby and Chris Wood. Surprisingly, this eponymous effort marks the first recording to be released under his own moniker, and the fact that the recording for this project started in 2001, with a further session in 2004, before being completed in 2008, suggests that Cutting might have felt some reluctance to place himself directly under the spotlight. Any reluctance on his part is wholly unwarranted, as this outstanding collection demonstrates. Cutting plays with a style that feels like he is gently coaxing the melodies out of his accordion, lending a fluid restraint that sacrifices little in the way of purpose, and results in a performance that is sensually illuminating.

Subtlety seems to be the order of the day here, and a handful of notable guest musicians contribute, yet none of these appearances could be considered superficial; they all seem to follow Cutting's cue by allowing the tune to be paramount and suppressing any sense of ego. Nonetheless, the distinguished musical personalities of Mike McGoldrick, Tim Harries, and Ian Carr are evident and each do their bit to flesh out the sound when called upon.

The Cutting/Carr collaborations are particularly notable for their complex rhythmic marriage, with "Edges / Thin Waltz" positively revelling in the most joyous interplay of accordion and guitar that one might ever hear. The apparent lightness of touch as Cutting skips effortlessly through the exuberant melody sits in contrast to the more meticulous rhythms of Carr's guitar. The partnership takes a more subdued form on the traditional tunes "Cuckoo's Nest / Old Molly Oxford," where a generous helping of space and restraint allow for a rare appreciation of the subtle resonances of both instruments, as well as their more precise charms.

Tim Harries' double bass brings a sense of purpose and drama on "Still Hearing You / The Resplendent Jig," a set of tunes that stretches the album beyond the traditional sounds that typify the album, lending a darker, jazz-tinged ambience. The uncompromising, measured pace of "Atherfield" results in one of the more sober tunes on the album, performed as a resplendent duet with the full-bodied flute of Mike McGoldrick.

Alongside the various collaborations, there are opportunities aplenty to hear what Cutting can do when left to his own devices, and these moments prove no less engaging. "Charlie / Come Back" is a spirited, punchy set of tunes that ably demonstrates the versatility of the the accordion, whilst "The Old Light" finds Cutting harnessing the more subdued and emotive aspects of the instrument. Both these tunes are composed by Cutting himself, along with many others on the album, and demonstrate a canny manipulation of traditional influences, distilled into a more contemporary-sounding concoction. There is another short but sweet Cutting original, "Covered In People," that wryly captures the panic and mayhem of being lost in a crowd, clearly signalling the empathy that Cutting is capable of weaving in to melody.

This album will surely sell like the proverbial hot potato at this summer's folk festivals, and deservedly so. It's certainly an album that should quickly establish itself amongst the finest releases of the year from the English folk scene.

You can visit Andy Cutting's website here!