Ahoy Hoy – Boreas release debut album

Ahoy Hoy
Photograph by Louise Bichan

AHOY HOY is the eagerly awaited debut album from Boreas, shaped by spanning the expanses of the North Sea. In this recording the band have created something both warm and sparse, shadowy and glistening, simple and intricate, it is indeed a glorious debut.

An enchanting musical union between Scotland and Norway, Boreas began as a collaboration between Lori Watson from the Scottish Borders and Britt Pernille Frøholm from Hornindal in Sogn og Fjordane. Lori and Britt are joined by award winning accordionist Irene Tillung from Voss and Rachel Newton from Edinburgh. Together, Boreas have a passion for new and experimental forms of traditional music creating a unique expression based on Norwegian and Scottish folk music. Boreas seek to emphasize old traditions and shared musical aspects, while exploring the spaces between their different yet connected cultures.

Britt Pernille Frøholm (Hardanger/fiddle) has released several albums and frequently works across genres including solo traditional music on Hardanger fiddle (National Champion 2014), folk bands, electroacoustic compositions, collaboration with contemporary composers and free-improvising big band.

Lori Watson (fiddle, voice) is the first doctor of Artistic Research in Scottish Music having completed her PhD in contemporary Traditional music practice. She has released several critically acclaimed albums under her own name and with trio Rule of Three. Her songwriting and compositions explore tradition and innovation, and she is in demand as an educator in Higher Education, and youth music.

Irene Tillung (accordion) is a versatile musician with a background in both classical/contemporary and traditional music. She has released several award winning albums with her groups Tindra, Maar and Frøholm/Tillung. Collaborating with Polish trio Kroke, she has toured widely following the release of a live album in 2010. Irene has composed several commissioned works, one of them for Førde Folk Music Festival in 2009.

Rachel Newton (Scottish harp, voice, electroharp) is a singer and harpist, regularly touring with her own trio, The Shee, The Furrow Collective and the Emily Portman Trio. Rachel has also performed with Karine Polwart, Blue Rose Code and The Elizabethan Session among many others. Her solo albums The Shadowside (2012) and Changeling (2014) earned her much critical acclaim including nominations for Album of the Year and Instrumentalist of the Year in the Scots Trad Music Awards.

Artists’ website: http://www.boreasband.com/

Breabach’s new album is on the way

Breabach's new album is on the way

Release Date Friday, 11th March, 2016

Voted ‘Best Live Act 2013’ & ’Best Folk Band 2012‘ at the Scots Trad Music Awards and twice nominated ‘Best Band’ at the BBC Radio 2 Folk Awards; Scottish five-piece Breabach deliver a thrilling and unique brand of contemporary folk music that has earned them international recognition on the world and roots music scene as one of the UK’s most dynamic and exciting bands.

After a whirlwind five years traversing the globe, touring Australia, New Zealand, Asia, North America, Scandinavia and the middle East, Breabach are delighted to announce their fifth studio album Astar (translating from Scottish Gaelic as distance or journey). The music on the album takes inspiration from the beauty of both the places and people the band have visited and the wonderful musicians and cultures encountered along the way. Working with producer Greg Lawson (Moishes Bagel, BBC Scottish Symphony Orchestra, GRIT Orchestra) the band have taken melodic, rhythmic and harmonic ideas from each of the countries they have visited. Some of this is woven into the arrangement, some of this is achieved through self-penned works. Through it all however, it’s their Scottish roots that remain at the core of the recording with work from Burns, Dick Gaughan and Donald Macleod finding it’s way into the mix. Augmenting the album will be some special guests including Yidaki player Mark Atkins (AUS), extraordinary Aborigine artist Yirrmal of Black Arm Band (AUS) Maori tradition bearer Scott Morrison (NZ), Quebecois violinist Olivier Demers of Le Vent Du Nord (Quebec) and Hardanger virtuoso Olav Luksengård Mjelva of Nordic Fiddlers Bloc (NO).

Breabach unite the talent of Calum MacCrimmon (pipes/whistles/bouzouki/vocals), Ewan Robertson (guitar/ vocals), James Mackenzie (pipes/flute/whistles), Megan Henderson (fiddle/vocals/stepdance) and James Lindsay (double bass). Since launching their career as winners of the Open Stage Award at Celtic Connections in 2005 the band have steadily moved from strength to strength, picking up accolades and performing at esteemed events along the way. The 2016 release of Astar sees them reaching new levels of their musical ambition and maturity.

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artists’ website: www.breabach.com

 

VARIOUS ARTISTS – Songs of Separation (Navigator NAVIGATOR094P)

Songs of SeparationAn ambitious project, this is the brainchild of double-bassist Jenny Hill who, in the period running up to the Scottish independence referendum in 2014, found herself frequently on the road away from her Scottish home. As such, and being English, she was struck by the different messages being directed at and from the two nations and decided to address the notion of separation through a musical project. Recruiting Eliza Carthy, Hannah James, Hannah Read, Hazel Askew, Jenn Butterworth, Karine Polwart, Kate Young, Mary Macmaster and Rowan Rheingans, a posse of female folkies from both Scotland and England, they holed up on Isle of Eigg last June to write, rehearse and record (in just six days) what would eventually become this album, its theme of separation embracing the personal, political, social and cultural as well as touching on matters of family, gender, communication, supernatural, home, work, identity and the land.

Polwart taking the lead vocal, it opens with a reading of the traditional number, ‘Echo Mocks The Corncrake’, an appropriate choice given that Eigg is one of this migratory bird’s remaining habitats, its distinctive call introducing the track and echoed in the percussive beats, the lyrics about the separation of two lovers serving as a metaphor for the rural depopulation of the Highlands during the 18th and 19th centuries. It’s a robust treatment involving harp, scraping strings bass, double bass and a rousing wordless vocal refrain.

The album continues in traditional mode with Read’s bluegrass-tinged arrangement of Burns’ ‘It Was A’ For Our Rightfu’ King’, a gently yearning melody picked out her acoustic guitar and completed by harp and banjo, followed by the equality and love themed ‘The Poor Man’s Lamentation’ with its urgent rhythm, swirling violins and a capella ending. Further birdsong and the sound of a storm heralds the wholly massed a capella lament ‘Sad The Climbing’ (or, since it’s sung in Gaelic, ‘Trom An Direadh’), recorded live, like the album’s other a capella number, ‘Unst Boat Song’, in Eigg’s acoustically striking Cathedral Cave, itself not far from the site of a 1577 massacre of the MacDonald population by the MacLeods of Harris upon which the lyrics treat.

Driven by choppy percussive arrangement and gathering to a chanted climax, things remain in Scottish Gaelic for the near six-minute ‘Muladach Mi ‘s Mi Air M’aineoil’ (‘Sad Am I And In A Strange Place’), a call-and-response waulking song about a woman and her two daughters being separated from their people and their home.

In contrast to the bulk of the album, ‘Cleaning The Stones’ is an original number (a fish’s love song) penned by Eliza Carthy. Opening with a chamber folk arrangement, it waltzes dreamily on wings of plucked strings and harp arpeggios like something from the music halls. A little more birdsong, and it’s a journey way back in time and to the far reaches of the Shetlands for ‘Unst Boat Song’, a prayer for the safe return of fisherman sung on the original Norn with Polwart taking lead.

Sung by Hazel Askew with the others providing harmonies, the lullabying music hall tune of ‘London Lights’ may be more familiar as ‘Just Before The Battle Mother’, an American Civil War song written by George Root, the lyrics here about the destitution fate of abandoned single mothers. Heading into the final stretch, the harp shimmering ballad ‘Sea King’ is a handclap backed intricate setting by Kate Young of a poem by 19th century Danish poet Adam Oehlenschläger, a variation on the selkie myth about a woman who, years after being transformed into a mermaid, returns to shore, human again, only to find she has now has no home on either land and the sea.

Lady Maisery’s Rowan Rheingans steps up for another original, the strings-swathed ‘Soil And Soul’, a song inspired by both the hills known as The Old Woman of the Moors on the Isle of Lewis and the translation of the Gaelic for Eigg, The Island of the Big Women (a reference to the 7th century female Pict warriors sent to rid the island of Christianity-peddling monks), while the title (and the theme) stems from a book by Scottish environmental campaigner Alastair McIntosh.

Concerned with separation and loss as a result of conflict, personal or otherwise, ‘Over The Border’ weaves together a number of traditional tunes and a collective original, among them ‘The Flowers of Knaresborough Forest’, ‘Blue Bonnets Over the Border’ and pipe lament ‘The Floo’ers of The Forest’, plucked harp and Indian harmonium drone giving way to shared vocals by Polwart and Carthy before the ensemble joins in and violins, guitars and percussion lift the tempo for a rousing dance reel and the optimistic refrain of ‘the gates and the borders will all fade away’.

Finally, Robert Frost’s classic poem ‘The Road Not Taken’ provides the inspiration for’ Rheingans’ ‘Road Less Travelled’, her vocals joined by Polwart and Young (who also lent a lyric hand) on an suitably banjo-dappled accompaniment behind which, recorded in the open air, birds trill and the wind blows as they exhort “lay your cares and troubles down” and “sing your own way home”.

There’s no better way to end this than by quoting Hill’s words in the booklet:

Songs of Separation is an ‘SoS’, reminding us that this connection between people, and between people and place, is the key to overcoming the challenges we face, both in our communities and in this fragile world of which we are temporary custodians.” Come together, right now.

Mike Davies

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Website: http://www.songsofseparation.co.uk/

Cathedral Cove:

Rachel Hamer Band record debut album

Rachel Hamer Band record debut album EFDSS Grace Smith Graeme Armstrong Graeme Miles Martyn Wyndham-Read Mike Nicholson Rachel Hamer Rachel Hamer Band Robin Dale Sam Partridge The Keelers The Unthanks The Wilsons The Young'uns

A Newcastle folk band with strong links to Teesside is set to record its first album, thanks to a bursary in memory of one of the North East’s most acclaimed songwriters.

The Rachel Hamer Band has been named as the latest recipient of the award made by the English Folk Dance and Song Society (EFDSS) and the award winning band The Unthanks in memory of Middlesbrough songwriter Graeme Miles who died in 2013.

This is the second memorial bursary, worth £1,200, to be given. The scheme is administered by EFDSS and supported by The Unthanks through fundraising concerts.
Continue reading Rachel Hamer Band record debut album

MERRY HELL – A Grand Night Out (Focal Media)

MERRY HELL A Grand Night OutThree albums to the good and a growing reputation, Merry Hell, have seen fit to release a live DVD. Having seen the band perform live and reviewed their last excellent album The Ghost In Our House and other stories…, I slipped the DVD into the player with some anticipation. I was not disappointed.

The selection of songs come from across the three albums and with exception of the elusive ‘No Money’, which I have yet to catch live, all my favourites are in evidence.

The first thing that hit me was the high quality of the sound recording. I actually wondered, initially, if the track was overdubbed, but could see after a few minutes that it was the actual live soundtrack. The performance starts a little restrained and then eases into more comfortable delivery. Not unusual for any live show.

So, what we have here is Merry Hell moving from jig, to light folk to Celtic rock and all colours between. Top of the list, for me: ‘Let’s Not Have A Morning After’, ‘There’s A Ghost In Our House’, ‘The Butcher And The Vegan’ and ‘BLINK… and You Miss It’. Although, I am sure you will all have your own favourites if you are a fan. If you have never heard any of Merry Hell’s music you really are missing out on some damn fine folk/folk rock.

Not seen Merry Hell live? Well, here is the next best thing. Support the band, buy the DVD and have a Grand Night In.

Ron D Bowes

If you would like to order a copy of the DVD then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need via the folking store as every little purchase helps us.

Artists’ website: www.merryhell.co.uk

‘The Baker’s Daughter’:

Ray Cooper – Palace Of Tears

Ray Cooper makes rare London appearance
Photograph by Günther Wolffe

Ray Cooper states:

It is a bittersweet album about living and working in Northern Europe over the last quarter century. I tried to avoid nostalgia but many songs deal with the past and how is can never be reclaimed. The sound of the album is placed firmly in Northern Europe too, with the addition of Swedish musicians and some songs that reference Scotland, Sweden and my roots. All of this seen through the prism of the Swedish winter as I look out from my studio.

Ray Cooper is an independent singer/songwriter and multi-instrumentalist currently living in Sweden. His first solo album Tales of Love War And Death By Hanging was released in 2010. The second album, Palace Of Tears was released in August 2014 in Europe and September in the UK.

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Born of a Scottish mother and an English father, Ray Cooper grew up in England and started to play in bands when he was 16. Moving between rock, punk, pop and world music, and working as a singer, bass guitar player and cellist, he finally hooked up with Oysterband in 1988 and began a long exploration into his own roots. Moving to Sweden in 2000, Cooper continued playing with Oysterband, eventually touring in 27 countries and recording 19 albums. In 2012 they won 3 awards from BBC Radio 2 Folk Awards for best group, best album and best traditional track and were dubbed by FROOTS magazine as one of the 3 ‘Icons of Folk’. Despite their success, Cooper took the decision to leave the band and go solo in February 2013 and has since been touring Europe extensively.

Tales of Love War and Death by Hanging has a strongly historical theme and was recorded in a small log cabin in Sweden. The sound is simple but at times evokes a much bigger scale. Citing influences such as T-Bone Burnett, Ennio Morricone, Johnny Cash and June Tabor, Cooper played cello, guitar, harmonium, mandolin, mandola, harmonica and kantele to accompany his songs. His second album Palace Of Tears is more of a singer songwriter album but retains a distinct nordic flavour with the inclusion of Swedish fiddles and the Finnish kantele which runs like a seam throughout the album.

It’s about my experiences of living and working in northern Europe over the last quarter century. I define myself as a northern European now, rather than being Scottish.

Artist’s website: http://www.raycooper.org/