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/