THE DARIA KULESH QUARTET talk to Folking

Daria Kulesh Quartet
Photograph by Jason Emberton

For their many fans there is sadness at the news that the latest iteration of Kara has disbanded. With the plan not quite coming together, both Phil Underwood and Pete Morton have had to take their leave to continue with other projects with founding members Daria Kulesh and Kate Rouse enthusiastic to focus on new music. Daria goes back to the beginning of the story.

“I started my musical journey as part of Kara and then, on a whim, decided to release my solo album, Eternal Child, and thought it would just be a little vanity project. Then Long Lost Home was an epic project for me and I really poured all my heart and soul into it and hopefully it’s paid off. The last year has been really incredible on the back of that release and all my adventures and journeys that went with it. Effectively Daria Kulesh has become a thing – I don’t even really know who she is any more – and that has taken over from Kara.

“It was following Kara’s gig at The Troubadour that Pete said it really should be about my leading the band. I was quite excited about working with Pete and sharing the spotlight but what he felt was that I needed to be a mean diva with a mean band backing me.” Pete always had a neat turn of phrase.

The first recruit to the new line-up was pianist Marina Osman. “We’ve known each other for a long time. We were doing some covers…” At this point Daria interrupts to explain that the episode in question was too embarrassing to talk about and then proceeded to explain that they were doing Lady Gaga covers. Marina finally gets a word in again. “It was a great experience but Daria had some much creativeness in her that she could not do just simple covers…and she decided to be a diva.”

Marina starts to explain that they have been working together as a duo on “the Russian project” and Daria leaps in again. “There is just so much serendipity in all of this. Marina and I were, not exactly out of touch, but we hadn’t done anything together for quite a while.” And now it gets complicated – let’s see if I’ve got it. Daria’s song ‘The Moon And The Pilot’ went viral after her appearance on the BBC World Service and her name was out there in Russia and Ingushetia. The presenter also suggested her for an event at Pushkin House, the Russian Cultural Centre, performing music that is virtually unknown in the UK.

“Marina and I learned thirty minutes of material for this event and the director of Pushkin House immediately rebooked us for a full set so we started work on a set of Russian film songs and some Russian folk classics. We kept getting repeat bookings and started mixing it up with some original material and then Marina had a little jam with Kara at The Troubadour. That was when Pete told me she was gold dust and to get her in my band.”

The fourth member of the new band is guitarist Tristan Seume who also works with Jackie Oates and admits to combining classical guitar lessons with busking Levellers’ songs in an underpass. I get the impression that Tristan knows pretty much everybody but how did he end up here?

“I got an email from Kate just over a year ago, asking me if I’d like to try out for a band. I was flattered to get an invitation but at the time I was so committed elsewhere that I left it in my unread folder because I wanted to write a nice, polite, thoughtful response but it just slipped further down my to-do list. Fast forward a year and a change of circumstances and I was going through unread emails and decided to respond to it. Because I was in a silly mood I thought I’d write something just to say ‘for what it’s worth I’ve got some time on my hands’. Within an hour I got a response from Kate.”

Prior to the formal interview, I’d watched the band at work, developing a new arrangement of Daria’s single ‘Vasilisa’ and working on a new song, ‘Pride Of Petravore’, a Percy French piece that had been suggested by Pete. Daria knew the song; Kate knew it in a different key, because Kara had performed it as an instrumental, but neither Tristan nor Marina knew it at all. Within about thirty minutes they had it ready to take into the studio to record a demo. That is the measure of the new band. The interesting thing is that Kate seems to be the one with the ability to sift through all the ideas and pull together the best ones.

“It’s my background”, she says modestly. “I’ve always been arranging my own parts and perhaps hearing things in a slightly different way. I’m the one more familiar with the Kara material but we’ve all learned lessons and become more aware about refining the music in a certain way. Someone needs to say ‘I think it should be this’ and not be shy about it. Plus the dulcimer is a big part of the band and I’m a bit protective about it.

The name of the new line-up was, for a while, a matter for debate. It might have been The Daria Kulesh Band or Daria Kulesh And Friends. I made several suggestions that were, quite rightly, rejected but they have now settled on The Daria Kulesh Quartet. Daria and Marina have recorded some new tracks which may figure on a Vasilisa EP and the new band has spent time in the studio preparing for their first gigs in the new year. It’s all very exciting and I’m looking forward to the finished product.

Dai Jeffries

Artists’ website: http://www.daria-kulesh.co.uk/

‘Pride Of Petravore’:

SINGLES BAR 25

A round-up of recent EPs and singles with compliments of the season

Singles Bar 25WOLFNOTE are a new trio from Berkshire making their debut with an EP, Frightened Of Your Own F#. The three female members, Bex, Gill and Ceri, have strong voices and harmonise well and between them play guitar, violin, cello, dulcimer and recorders and their silent partner, Mike, plays guitar, bass and cajon. The record starts with a cover of Dylan’s ‘Girl From The North Country’ taken a little more quickly than most people do – it can drag, sometimes. The other songs are originals and ‘Love And Light’ is particularly good. The production is excellent, concentrating on the voices with the instrumental leads clear and bright. A name to watch.
https://www.facebook.com/wolfnoteband/

‘The Tug Of The Moon’ is the first single to be taken from If We Dig Any Deeper It Could Get Dangerous, the forthcoming album by SARAH McQUAID. This could be the only song ever inspired by Newton’s third law of motion and its effect on sidereal time.  Behind the science is the thought that we are all spinning towards the end of the universe and perhaps we should make the most of our time. Sarah creates a wonderful sound with fingerpicked electric guitar drenched in reverb.
www.sarahmcquaid.com

While her new band settles in DARIA KULESH releases a single supported by two of her duo partners, Jonny Dyer and Marina Osman. ‘Vasilisa’ is an old Russian fairy tale from a book that Daria read as a child and still has. The story contains certain elements of Cinderella but far nastier and involves a supposedly deadly errand, the famous witch Baba Yaga and some unpleasant deaths. It has the mysterious air of Daria’s other Russian adaptations with the drone of a shruti box, dramatic piano, percussion and bouzouki.
http://www.daria-kulesh.co.uk/

It’s that time of year, so folk have been getting into the festive mood for seasonal singles. First up comes the rather lovely download (from the usual sources) only ‘What Will Christmas Be’, a melancholic piano (Danny Mitchell) and cello (Chelsea McGough) ballad duet from BEN GLOVER and NATALIE SCHLAB about absence and loss at a time traditionally about being together, set off with a final peal of bells.
https://www.benglover.co.uk/

Season Bright is a seasonal EP from EMILY EWING & ROBERT LANE. Robert is well known to folking readers and Emily is a singer-songwriter with a download EP to her name and a growing reputation. The lead tracks begins with Robert and Emily lamenting the fact that they’ll be spending Christmas alone (surely not) and moves on to the exhortation to “keep your loved ones near” over some lovely ringing electric guitar. The other tracks are the guitar-led ‘Get You’ and ‘Own It’, built around Emily’s piano. Available from iTunes.
http://www.robertlanemusic.co.uk/

Jo Whitby aka LAURENCE MADE ME CRY mirrors the mood with her download single ‘It’s Not You, It’s Christmas’ (from her bandcamp site), a slow walking fuzzed reverb guitar (sounding like a kazoo on acid) and drums ditty about choosing to spend the festivities alone at home, although she still wishes everyone seasonal cheer.
http://laurencemademecry.com/

SKINNY LISTER also get into the act with ‘Christmas Calls’ (XtraMile), an epic sounding arms-linked swayalong anthem very much in the Pogues ‘Fairytale’ mould, complete with military drums, bells and whistles.
http://skinnylister.com/

From last year’s Edison Gloriette album, JESS MORGAN releases download Jay Chakravorty remix of the Moonstruck-inspired ‘Come To The Opera With Me Loretta’ (Drabant Music) that removes the piano, putting more focus on the vocals and giving it an anthemic seasonal synths and drums shimmer makeover.
http://www.jessmorgan.co.uk/

Away from the holly and ivy,Yorkshire’s FRAN WYBURN self-releases ‘Foolish Sea’, George Birkett’s fingerpicking and Rachel Brown’s cello backdropping her pure, little girl vocals on a quirky tale of unrequited love that serves as a taster to her forthcoming album.
http://www.franwyburn.com/

There is not so much Christmas spirit but an awful lot of pain in ‘Love Left Lost’, the second single from Brighton-based singer-songwriter JOSH McGOVERN. Quite which subterranean depths that voice comes from is hard to say but the tragedy is delivered over minimal acoustic and with soulful backing vocals on the choruses.
https://www.facebook.com/Joshmmusic

To mark the twentieth anniversary of the death of blues guitarist LUTHER ALLISON Ruf records have released a limited edition eleven disc box set of his later work. As a taster there is a 7” vinyl single: ‘You Can’t Always Get What You Want’ and ‘Night Life’. The lead track starts with a deceptively simple Hammond organ and Luther waits until the chorus comes round for the band to kick in and then it takes off with some wonderful “doo-de-doo” backing vocals.
http://www.rufrecords.de

THE COMPANY OF PLAYERS – Shakespeare Songs (own label)

Shakespeare SongsThe Company of Players is an assemblage of young musicians brought together at the behest of Jess Distill of Said The Maiden, in order to celebrate the 400th anniversary of Shakespeare’s death in 2016 by putting together some songs related to his life and work. And one of the fruits of that collaboration is the CD Shakespeare Songs. Participants are Jess Distill (vocals, flute, Shruti box – a drone instrument somewhat like a harmonium), Hannah Elizabeth (vocals, violin), Kathy Pilkinton (vocals, clarinet, spoons, mandolin), Sam Kelly (vocals, acoustic guitar, mandolin, percussion), Kelly Oliver (vocals, acoustic guitar, harmonica), Lukas Drinkwater (vocals, electric guitar, double bass), Chris Cleverley (vocals, acoustic guitar, banjo), Kim Lowings (vocals, dulcimer, piano), Minnie Birch (vocals, acoustic guitar) and Daria Kulesh (vocals).

And a very interesting set it is, too. Knowing nothing of the project, I was, I suppose, expecting performances of songs that actually feature in Shakespeare plays (‘The Willow Song’, for example) or settings of his words, possibly accompanied by instruments from the period – which would have been fine by me! – but there are no lutes or viols here, and the range of material is both wider and in many cases more modern than I expected.

Track listing:

  1. ‘Black Spirits’, by Kathy Pilkinton, takes its title and lyrical content from Macbeth: specifically, Act I Scene I, and Act IV Scene I, taken verbatim from speeches by the Three Witches. It starts with minor-key, dirge-like close harmonies from Said The Maiden over an instrumental drone, then picks up the pace with percussion from Sam Kelly, while the harmonies of Jess, Hannah and Kathy are augmented by the voices of Sam, Chris, Kelly and Minnie.
  2. Minnie Birch’s ‘Up And Down’ borrows ideas and imagery from Midsummer’s Night Dream, and even the chorus is based (though not verbatim) on the words of Puck:
    Up and down, up and down,
    I will lead them up and down
    .’
    The sound, however, is very ‘modern folk’. In fact, it reminded me a little of Megan Henwood, which is certainly not a complaint. A very pretty tune.
  3. ‘Gather Round’, by Kim Lowings, draws on ideas and imagery from The Tempest. However, the expression is unashamedly modern, and would not sound out of place on Radio 2. (Hey, that’s not a criticism: I often listen to Radio 2!)
  4. While the title of Chris Cleverley’s ‘But Thinking Makes It So’ comes from Hamlet, Prince of Denmark – “for there is nothing either good or bad, but thinking makes it so” the song seems to be a more general musing on the human condition and psychological frailty, no doubt influenced by the well-known soliloquy. Very attractive.
  5. In contrast, ‘Method In The Madness’, by Jess Distill and Kim Lowings, is clearly based on Hamlet (perhaps somewhat influenced by the Icelandic Amlóði or the Amleth of Saxo Grammaticus, somewhat less conflicted precursors of Shakespeare’s Prince of Denmark). It’s curious that such a dark, corpse-strewn play should attract such light music. While this doesn’t have the levity of Adam McNaughtan’s ‘Oor Hamlet’ (chanted or sung to ‘The Mason’s Apron’), its sprightly tune, married to instrumentation that would not be out of place at a bluegrass festival, could certainly be described as toe-tapping. In fact, the tune would fit nicely into that group of American songs including ‘The Roving Gambler’, ‘Poor Ellen Smith’, and ‘Going Across The Mountain’. I’m almost tempted to describe it as fun.
  6. ‘Song Of The Philomel’ is a gentle song by Kim Lowings: the slightly archaic expression in the lyrics recalls Titania’s lullaby in A Midsummer Night’s Dream. (Philomel is both an old name for the nightingale and a 19th-century instrument somewhat related to the violin, though Hannah’s fiddle here doesn’t have the philomel’s shrill tone.) I particularly like this track.
  7. ‘Interval’ is a brief instrumental track, not listed in the sleeve notes or lyric booklet, but its mournful, slightly dissonant tone serves very appropriately as an introduction to the next track, ‘Lady Macbeth Of Mtensk’. Amusingly, the press release ascribes its inclusion to Midsummer’s Eve mischief-making by the Fairy Queen and her followers. However, there’s nothing light-hearted about either track.
  8. Daria Kulesh’s ‘Lady Macbeth Of Mtensk’ draws its story, as the title suggests, from the novella Lady Macbeth Of The Mtsensk District by Nikolai Leskov (and the source of an opera by Shostakovich), rather than directly from Shakespeare. Darla’s dramatic delivery of a melody fittingly reminiscent of Russian folk music is almost operatic in its intensity.
    By the way, the Russian word прощай, which appears several times in the lyric, generally means something like ‘farewell’ or ‘goodbye forever’, but can also mean something like ‘forgive’, which perhaps echoes the more sympathetic portrayal of Katerina in Shostakovich’s opera. Just a thought.
  9. ‘You Needs Must Be Strangers’ takes verses from Sir Thomas More. The authorship of this play is, to say the least, complicated. But it is generally accepted that 147 lines added to the play in 1603 were contributed by Shakespeare in his own handwriting. Its meditation on the plight of the exile has an all-too-apposite resonance in the 21st century, reminding me a little of Martin Thomas’s ‘The Exile’.
  10. ‘It Was A Lover And His Lass’, by Hannah Elizabeth, sets the song from As You Like It described by Touchstone as “untuneable”, though Hannah’s setting (like Thomas Morley’s long before it) disproves that description. A great tune, though the extended playout is a little overlong for my taste.
  11. The lyric to ‘Jessica’s Sonnet’ is actually not quite a sonnet, but then it isn’t by Shakespeare either, being credited to Kelly Davis, Kim Lowings and Sam Kelly. It does, however, represent the thoughts of Jessica, the daughter of The Merchant Of Venice, just before she elopes with Lorenzo. The vocals are credited to Sam and Chris, but there’s a strong female vocal there, too, plus other harmonies that seem to be from the whole Company.

This certainly isn’t the sort of music I was expecting, but I certainly can’t say I was in the least disappointed by what I heard. Good solo and harmony vocals, excellent instrumental work where technique serves the interests of the songs but never overshadow them, and some very attractive tunes. If you’re among the many people who were completely put off The Bard by unimaginative English lessons, don’t let that put you off this take on his life and work. And if you love Shakespeare but are open to alternative ‘takes’ like West Side Story you may well like this.

It’s certainly staying on my iPod.

David Harley

Artist’s website: www.facebook.com/TheCompanyofPlayers

‘Method In The Madness’ – live:

DARIA KULESH & JONNY DYER – live at The Troubadour

Daria Kulesh
Photograph by Tony Birch

The Troubadour is one of the iconic venues in the country. Founded in 1954, it still occupies the coffee shop in Old Brompton Road near Earl’s Court where it started. It has played host to most of the greats on the folk scene, many before anyone else had heard of them. I say that because this was my first visit – it being in That Lunnon and me a country boy – and also Daria and Jonny’s debut performance there. And, as Daria pointed out in her introduction  to ‘Distant Love’, the first time that a song in the Ingush language had been sung on that stage.

They followed ‘Distant Love’ with Daria’s greatest hit, The Moon And The Pilot’, with Daria, resplendent in black and gold, at her expressive best. Then came something new.  Daria and Jonny were premiering some new songs – not a follow-up to Long Lost Home – but covers of some of the singers and songwriters who have graced this stage. What better place to air them first?

The first of them was ‘Blowin’ In The Wind’, a song that is so well known that no-one sings it any more. Daria gives a new innocence over some absolutely delicious rolling guitar figures from Jonny. After ‘Amanat’ came ‘Masters Of War’ with Daria playing pulsing shruti and a mini-tambourine strapped to her foot. It is a song that is rapidly becoming relevant once more and one that is very important to Daria; there was a palpable anger in her performance. After ‘Panther’ (modesty forbids me from quoting her introduction) came ‘Northern Sky’. Most singers covering Nick Drake try to find the inner fragility of this notoriously reticent man. The original version of the song is drenched with arrangements that Nick himself disliked but which give it a power but Jonny reduced the arrangement to just a keyboard part and Daria turned it into a torch song. It might be considered revolutionary but it is quite magnificent.

Three more songs from Long Lost Home: ‘Untangle My Bones’, ‘Tamara’ and ‘Only Begun’ followed before they tackled the big one: ‘Who Knows Where The Time Goes?’. Here’s another song that has been sung thousands of times over the years but, over Jonny’s guitar, Daria managed to instil something of herself into it, which is no mean achievement. They encored with another song associated with Sandy Denny, ‘Quiet Joys Of Brotherhood’, with attention drawn to the line “love is lord of all”. It brought the set to a reflective end – another old song that is still important and relevant.

Dai Jeffries

Artists’ website: http://www.daria-kulesh.co.uk/with-jonny-dyer/

‘Amanat’ when it was new – live:

DARIA KULESH Live at Cecil Sharp House

Daria Kulesh live
Photograph by Tony Birch

February 23rd is a date that should be known in history.  On this day in 1944 the entire population of the Chechen-Ingush Autonomous Soviet Socialist Republic, those who weren’t away at war fighting for the Soviet Union, were told they were being deported for alleged collaboration with the enemy.  Many were children and resistance was met with death.

Move forward to 2017 and February 23rd was the date chosen by Daria Kulesh to launch her second album Long Lost Home at Cecil Sharp House in London. The location was appropriate because, as Daria said, CSH collects and stores folk memories so that they are available for future generations and Long Lost Home is more than just an album of songs as Daria through her Grandmother, Fatima Akhrieva, is Ingushetian. The evening was a celebration of her journey to find that link to her past.

February 23rd 2017 will also be remembered for Storm Doris, which provided a suitably tumultuous backdrop to the event but unfortunately disrupted travel and meant some audience members were unable to attend. They missed an evening of powerful, moving emotion that was also uplifting with its message of hope for the future.

The evening began with two well received pieces from Timur Dzeytov, People’s Artist of Ingushetia, including a song about the deportations followed by a traditional tune.  He played the dakhchan pandar, a form of the balalaika, and it was obvious even to me that this was not “Russian” music.  There were resonances of the near- and middle-east in the sound.  It was a suitably exotic opening.

Daria then took to the stage wearing a most beautiful dress that had been hand made and decorated in traditional style. She opened, as does the album, with ‘Tamara’ a dark song about sorcery and death.  The simple accompaniment from Timur and Evan Carson (percussion) emphasised the words well.  Evan came in as an emergency replacement but it certainly didn’t look that way, the sign of a very talented musician.

I’ve been fortunate to have seen some of these songs before, at least one on its debut, often with just Daria accompanying herself on guitar or shruti.  For the album launch we were treated to a full backing band which allowed the music to be fully expressed.  At various points during the evening we were also introduced to Jonny Dyer (piano and guitar), Kate Rouse (hammered dulcimer and piano), Vicki Swan (double bass, nyckelharpa and small pipes) and Phil Underwood (various accordions and guitar).

Daria Kulesh live
Photograph by Tony Birch

The evening followed the album so we were quckly enraptured with the ‘The Moon and The Pilot’, the story of Daria’s great-grandparents, Diba Posheva and Rashid Akhriev.  Diba was one of the deportees in 1944, two years after Rashid died a Hero of the Soviet Union in the battle for Leningrad.  It could not save his wife and their two young children, one of whom was Daria’s grandmother.  It was impossible not to be moved by Diba’s story of resilience and love for her children.

My personal favourite on the album came not long afterwards. ‘Amanat’ is the story of a relative even further back in time, Chakh Akhriev, who was born in 1850 and essentially fostered to Russian parents as a hostage.  It’s a story of a different time and place, yet of a man who never quite fitted in.  The song appeals to me, maybe for that reason, and it is also a fine example of Daria’s incredible vocal ability.  There’s so much power, range and control in her singing she entrances a room in the way very few other singers can.

This is not a review of the album so I will only mention one more song, ‘Heart’s Delight’.  This is Daria’s translation of the Ingush ‘Song of Mochkha’.  She also wrote the gloriously uplifting tune.  The first time I heard it I thought it was the Ingush National Anthem, and it possibly should be.

What is yours by right, May you always hold/May your heart’s delight become your fate.

To show how music can cross boundaries this was the tune where Vicki Swan played her small pipes, a suggestion which originally came from Timur Dzeytov.  It worked so very well; the drone of the pipes adding a frisson to the words that raised the hairs on the back of my neck.

For an encore we were treated to ‘Fata Morgana’, the opening track from debut album ‘Eternal Child’ and the start of Daria’s journey to her Long Lost Home in the Caucasus Mountains.  To complete the journey Timur Dzeytov returned to the stage to play a lezginka, a traditional dance from the Caucasus.  In the dance the man (on this occasion Anzor Aushev, who was one of Daria’s hosts in Ingushetia on her research trip for the album) is an eagle and the woman, whose name I don’t know, is a swan.  It was a beautiful insight to a different culture, the dance involved no contact between the partners but the courtship aspect was more than clear.  This is the dance which is also referred to in ‘Like A God’, the story of Daria’s great-great-uncle, and Diba’s brother, Aludin Poshev.  It was said he could dance like a god.

We also had a speech from Khairudin, the leader of the Vainakh (Ingush & Chechen) community in London  and I was left with the impression that Long Lost Home is a folk memory of Ingushetia that will become important to a country and people who are trying to reestablish their identity after many years of turbulence and suppression.

Tony Birch

Artist’s website: http://www.daria-kulesh.co.uk/

‘The Moon And The Pilot’ – official video:

DARIA KULESH – Long Lost Home (own label)

Long Lost HomeI sometimes feel that I’ve lived with this album for almost as long as Daria has. I heard all the songs as they were released in their various ways; I talked to Daria about the background to the project and some of the stories and even got a sneak preview of the cover art. After all the anticipation I began to have a niggling fear that Long Lost Home might prove to be an anti-climax. What do I know?

Daria’s first solo album, Eternal Child, was autobiographical in the personal sense: the story of a young woman travelling the world and having, shall we say, adventures. Long Lost Home is autobiographical in the historical sense. The long lost home is Ingushetia in the Caucasus, the ancestral home of Daria’s grandmother, a country whose people were displaced in 1944 on the orders of Stalin. There are some harrowing stories here as well as more reflective ones.

The first song we heard was ‘The Moon And The Pilot’ which originally appeared on a Folkstock sampler and then slipped into Kara’s live set. Now in its proper setting it has blossomed to become the keystone of the record. You probably know it by heart if you’ve read this far but if not I won’t spoil the story for you. It sits second on Long Lost Home, following ‘Tamara’, based on words by the Russian romantic painter and poet, Mikhail Yuryevich Lermontov, about an immortal siren – there is an abrupt change in mood from the mythical to the painfully truthful in these two songs. Next comes ‘Safely Wed’ – arranged marriage was normal in Ingushetia but “Auntie Nina” defied the tradition – and the magnificent ‘Amanat’, another song that crept into Kara’s live set.

When I first listened to the record after every song I thought, “go on, top that” and, remarkably, Daria does just that. In the middle of the set is ‘The Panther’, the story of an NKVD officer who refused to aid the deportations and turned vigilante. Movies have been made of slenderer stuff. That’s followed by ‘Like A God’, about Daria’s grandmother’s uncle who defied Stalin in a different way and ‘Heart’s Delight’, based on a traditional Ingush song and set to a martial beat. Many of these songs are linked to Daria’s family going back three or four generations but the subject of ‘Gone’ is herself, still living in a land that is not her own but, unlike the Ingush of seventy years ago, she can return home.

The key musicians supporting Daria are multi-instrumentalists Jonny Dyer and Jason Emberton, who also produced the record and Ingush singer Timur Dzeytov who also plays the traditional dakhchan pandar, providing some of the more exotic sounds. Kate Rouse’s hammered dulcimer is a distinctive presence as are the nyckelharpas and smallpipes of Vicki Swan. Daria is in superb voice as befits these literate songs – the word “operatic” keeps coming to mind but that isn’t right at all. It’s about power and heart and love and melancholy and about telling important stories in a very human way.

Dai Jeffries

Artist’s website: www.daria-kulesh.co.uk

Long Lost Home will be launched at Cecil Sharp House on February 23rd 2017 – the anniversary of the displacement of the Ingush people.

‘The Moon And The Pilot’ – official video: