Even though we’re heading towards the end of the year, there’s been no drop-off in the number of soon-to-be, or in some cases recently, released folk albums. This time around, the accidental theme is one of tradition – whether that’s traditions carried forward or old songs brushed off and given new life. There’s new music in older traditions as well.
We start with TEUD who are a trio consisting of Jamie MacDonald (from Tiree), Claire Frances MacNeil (from Barra), and Shona Morrison (from Skye) who have released an EP called “The Hebridean Fiddle Project” which does exactly what that title suggests – over four pieces the trio trace strands of fiddle tradition from different parts of the Hebrides and add in Gaelic singing. There’s a lovely set of ‘Gaelic Waltzes‘ with tunes drawn from each member of the trio’s home island, and a robust and skirling opener to the EP with ‘Puirt-chruinn‘ which draws on pipe tunes from Lewis, Barra and Skye. It may be that the EP is just 15 minutes in total, but it’s a thrilling quarter of an hour (7/10).
A band with somewhat of a longer history is Le Vent Du Nord, who have been bringing their modern take on Quebecois music to the world for over twenty years and have just released their latest album, “Voisinages,” on La Compagnie du Nord. It’s their lucky 13th release – and as the title suggests has a broad theme of neighbourhoods. Not that this is at all to imply that there’s a cosiness to the music – as the band say of songs like ‘Le Pari De Jeanne‘ : “When founding Montréal, Jeanne Mance was able to ingrain the fundamental idea that we must fight for the dignity of the weak, a value that we hope continues to be embodied in the way of life of her city’s people.” And then there’s ‘Par-dessus Le Pont‘, where the danger of satirical song is highlighted as the protagonist finds himself in the stocks after trying to be witty.
Having five vocalists, who are also multi-instrumentalists, means that Le Vent Du Nord can cover a lot of musical ground – but there’s rarely a shortage of fiddles and foot stomping (and taps!). This far into their musical career, Le Vent Du Nord have no difficulty conveying their passion for their music; it’s a joyful life life-affirming listen. And it’s fun too. (7/10)
Turning to another storied band, The Destroyers have released “Argonaut” to celebrate twenty years of playing folk clubs and festivals across the UK. The Destroyers originated in Birmingham and are part of the “big band” folk movement – think Blowzabella or Bellowhead – and like all successful contributors to that strand of folk, they have their own unique sound: a blend of Eastern European folk, Balkan brass and a vigorous rhythm section. The album was recorded live, with the aim of capturing the spirit of a gig, and it does this magnificently – there’s a chaotic passion coupled with a studio-crisp sound. Traditional – or traditionally sounding – tunes are coupled to wildly non-traditional lyrics: ‘Captain Borglet‘ tells the tale of an inter-dimensional travelling rat adventurer, whilst ‘The Wave‘ is an intense exploration of a holiday beach being swept clean by the sea that nudges into a wild drone scape reminiscent of space rock, whilst never abandoning its folk music roots.
If the album has a weakness, it is that there are many occasions when the music invites the listener to swirl wildly in a circle dance, abandoning reason to the physical experience, and yet doesn’t provide the requisite dozen or so people necessary to fulfil that invitation. (7/10)
“In The Ferns” from The Peel (on Sun Cru) takes us from the previous chaotic whirl of a big band to the precise control of a trio. Athens, Ohio-based band The Peel are Lucy Schwallie on fiddle, Adam Fuller on banjo, and David Colagiovanni on guitar, and the music they make is instrumental, blending in strands of “old-timey”, folk, classical, and drone elements. Taken together, it gives a cohesive sound that is reminiscent of the soundtrack to an imaginary English Folk Horror film – there’s a subtle and disturbing dissonance on tunes such as ‘Sunset Circus‘, whilst the guitar-led title track conjures up images of disorientation and isolation. Surprisingly, ‘Weird Times‘ offers a much warmer vista, with an almost cosy beside-the-fireplace feel to the interplay of fiddle and banjo in particular. ‘Woods‘ feels as if it has dropped directly out of the Wickerman, with Schwallie’s fiddle adding an urgency as the music unfolds. Instrumental music such as this is a spur to the listener’s imagination; the track titles may try to nudge that in a particular direction, but this really is an album to just flow with, and enjoy the journey. (7/10)
Lonan are another trio, this one based in Yorkshire and consisting of bluegrass mandolinist Evan Davies, balladeer and folk flautist/whistle-player Katy Ryder and klezmer fiddler and troubadour Robin Timmis. Their new release is “Oddy Locks,” which opens with the title track, which is a gently flowing slow jig inspired by a favourite spot on the canals around Leeds. It might tempt the listener into thinking that this will be followed by similar well-played folk tunes, but ‘Sands of Dover‘ shows that the band has something to say, spinning a tale of a migrant worker who arrives “upon the jewelled sands of Dover“. It’s deftly spun, mixing a traditional-sounding tune with very modern concerns to an accompaniment that’s definitely Pentangle-esque. Similar social concerns inform ‘Maerdy (The Last Pit in the Rhondda)‘ and ‘Rothwell Debtors’ Prison‘, with poverty and de-industrialisation shown to be a constant across the decades. The whole is wrapped up with a lovely take on Richard Thompson’s ‘Beeswing‘. (7/10)
