KARINE POLWART – A Pocket of Wind Resistance (Hudson HUDOO5)

Wind ResistanceOriginally conceived as the musical accompaniment to her theatrical debut production of the same name in collaboration with sound designer Pippa Murphy, this now takes on independent life as an album in its own right. Inspired by watching the migration of some two thousand geese to Fara Flow, a peat bog near her Edinburgh home, and the way they took turns to create pockets of wind resistance to assist each other’s flight, Polwart embarked on a project concerning how we depend upon and help one another, not a little reinforced by having become a mother. It also serves as a warning of the dangers of isolating ourselves from others.

It opens with ‘All On A Summer’s Evening’, a sparse rendering of the traditional ‘Skippin’ Barfit Through the Heather’ accompanied by minimal glacial glockenspiel and thumb piano notes giving a drone effect that gives way to a spoken word passage describing the area around Fara Flow and introducing the narrative’s central characters, farmer and ex-soldier Will Sime and his wife, Roberta.

It flows seamlessly into the atmospheric ‘The Moor Speaks’ which, arranged for harp, drums, bass and a dense skein of backing vocals, offers a list of the many different mosses that grow here and, an indication of Roberta’s pregnancy, a refrain about “my little one” interwoven into a web of Gaelic hymn and field recordings.

Next up comes a carefree, buoyant treatment of ‘The Lark In The Clear Air’ framed with harp and rippling marimba that underscores the notion of open spaces and, from thence, to the drone-backed ‘Labouring And Resting’ with Murphy’s ambient score and Polwart’s description of the geese migration from whence comes the album title, the accompaniment capturing the sense of the wind and the sound of wings.

Backed by bass and a circling acoustic guitar psattern, the seven-minute ‘Tyrannic Man’s Dominion’ is a slight melodic reworking of ‘Now Westlin’ Winds’, Robert Burns’ ecological tract about bird shoots with their “slaughtering guns”. Whispering the introduction, backdropped by sanusula chimes, the spoken ‘Place To Rest And Mend’ builds to a military tattoo march beat and wordless chant as she pays tribute to Soutra Hospital, a charitable medieval Augustinian hospital that once stood on the edge of moor and, providing sanctuary and protection, served as a prototype of today’s NHS.

Opening with a sung lyric about motherhood against a single repeated piano note, ‘A Benediction’ gives way to a spoken narrative that describes Roberta watching Will who, in transpires, is carpeting a crib for the impending baby, Another spoken introduction about Roberta discovering a smashed swallow’s nest and the dead or dying fledglings sets the scene for the six-minute plus ‘Small Consolation’, focuses her thoughts on her own upcoming birthing, a meditation on the fragility of life giving way to the revisiting from her 2004’s Faultlines album with its echoes of Sandy Denny.

The sound of a barn owl both gives rise to the title and heralds the musically dramatic, dissonantly percussive ‘White Old Woman Of The Night’ as the contractions begin with lyrics that intermingle with Polwart’s recollections of her own troubled childbirth as it flows in the wheezing drone of medieval ballad ‘Sphagnum Mass For A Dead Queen’ (itself previously on 2007’s Fairest Floo’er as ‘The Death of Queen Jane’) about Jane Seymour’s tragic childbirth with its disorienting Latin chants and list of cures

The glacial 90-second foreshadowing of ‘Lullaby For A Lost Mother’ picks up the medieval notes with harp and birdsong counterpointing the tragedy in the voice of a child recounting the scene around Fara Flow to her departed mother, but then ‘Remember The Geese’ strikes an optimistic, uplifting not as she returns to the opening setting, drawing together and linking the threads of the metaphor and imagery as, in the spoken mid-section she warns of the weather growing darker daily and a fierce wind, reminding that we are “a human skein and we’re not going to make it on our own.”

In ‘Molly Sime’s Welcome To Salter’s Road’ the spoken narrative brings the pregnancy to a bittersweet end with Roberta’s daughter, Molly, born and the image of Will tending his wife only for her to bleed to death, she taken away by her family for burial, he taking an axe to their bed and the back room floor and throwing the wood and bloody linen on a pyre to “let the world burn.” Midway through, the final chapter of the story is interrupted with a revisiting of ‘Salter’s Road’ from 2012’s Traces, its line about the horseman’s only daughter suddenly bringing home that, for those unaware of the background, this isn’t some fiction, but the true story of one of Polwart’s former neighbours as she relates visiting the elderly Molly in hospital, on the last day of her life, with her own son. At once the project’s theme of thread that connects us is brought into heartbreaking focus and the album ends as it began, at dusk, with the moor cock calling and the sound of a heartbeat, its final words the song’s title and the album’s overarching message, ‘We Are All Bog Born’. Quite magnificent.

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 KARINE POLWART – A Pocket of Wind Resistance link 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.

ORDER – [CD]

Artist’s website: www.karinepolwart.com

‘Labouring And Resting’:

KARINE POLWART Announces New Album – A Pocket Of Wind Resistance

Karine Polwart A Pocket Of Wind Resistance
Photo by Sandy Butler.

Karine Polwart – five-time winner of the BBC Radio 2 Folk Awards – will release her new album A Pocket Of Wind Resistance via Hudson Records on November 17, 2017. Written in collaboration with the Scottish sound designer Pippa Murphy, ‘A Pocket Of Wind Resistance’ is the musical accompaniment to Polwart’s critically acclaimed theatrical debut (“Poignant, unflinching and beautiful” ***** – The Telegraph). The production, which debuted at the Edinburgh Festival in 2016, was written, musically directed and performed by Polwart, winning her the Best Music and Sound Award at the 2017 CATS. Alongside three other nominations, it also placed Polwart on the shortlist for the Best Actor ‘Scottish Oscar’ in the Sunday Herald Culture Awards. In-line with the album’s announcement, Polwart is streaming the first single to emerge from the album, ‘Labouring and Resting’.

For Karine, the ‘Wind Resistance’ project took seed from a close hand view of the annual migration of over two thousand pink-footed geese to Fala Flow, a tiny peat bog close to Polwart’s home just south of Edinburgh. Watching the geese’s constantly shifting skeins – in which the birds take turns to create pockets of wind resistance to aid each other’s flight – prompted Karine to consider the ways in which humans depend upon each other, whether or not we form skeins of our own. The airborne phenomena & its role in Fala Flow’s delicate ecology – explored in beautiful detail by Polwart on ‘Labouring and Resting’ – resonated particularly with Polwart’s own recent experience of becoming a mother and protecting a family of her own.

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 KARINE POLWART – A POCKET OF WIND RESISTANCE link 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.

ORDER – [CD]

Speaking about the album, Karine says;

“It’s a meditation on the ways in which we, as humans, protect and care for one another, and for all life, by stepping up, falling back, labouring and resting in our own fashion. In particular, it’s a hymn to mothers and birthing, to the proffering of sanctuary, to the miracle of medicine, and a reminder, a warning, about the consequences of isolating and forgetting.”

‘A Pocket Of Wind Resistance’ – the follow-up to her 2012 Scottish Album of The Year-nominated ‘Traces’, produced by Chvrches’ Iain Cook – is the latest in a series of collaborative projects from Polwart which combine music and art with science, environment and politics. Following her BBC Radio 2 Folk Award-winning 2005 debut ‘Faultlines’, Polwart collaborated on the naturalist-inspired ‘The Darwin Song Project’ in 2009 and last year’s all-female ‘Songs Of Separation’ release with Eliza Carthy, alongside ‘Sea Change’ in 2013, written as a response to climate change. Karine has also collaborated with indie composer RM Hubbert, co-written with members of Portishead for Martin Green’s EIF/Barbican production ‘Flit’, and co-directed and worked on life novelist James Robertson’s ‘Pilgrimer’ production.

Following a run of shows through October, Polwart will be performing ‘A Pocket Of Wind Resistance’ as part of a residency at The Royal Lyceum Theatre, Edinburgh between November 3-11, 2017.

Remaining Tour Dates:

November 4, 2017 | Royal Lyceum Theatre, Edinburgh
November 7, 2017 | Royal Lyceum Theatre, Edinburgh
November 8, 2017 | (Matinee) – Royal Lyceum Theatre, Edinburgh
November 8, 2017 | Royal Lyceum Theatre, Edinburgh
November 9, 2017 | Royal Lyceum Theatre, Edinburgh
November 10, 2017 | Royal Lyceum Theatre, Edinburgh
November 11, 2017 | (Matinee) – Royal Lyceum Theatre, Edinburgh
November 11, 2017 | Royal Lyceum Theatre, Edinburgh

Artist Web Link: https://www.karinepolwart.com/

BBC Radio 2 Folk Awards 2017 Winners Announced

The winners of the Radio 2 Folk Awards 2017 have been announced in a ceremony broadcast live from the Royal Albert Hall, London.

Now in their 18th year, the Awards are a key highlight of the folk music calendar and serve to raise the profile of folk music. Talent, new and old, received accolades including Folk Singer of the Year, Best Duo, Best Album, Musician of the Year, Young Folk Award and more. Lifetime Achievement Awards were presented to Ry Cooder and Al Stewart.

American roots-rock musician and songwriter, Ry Cooder, took to the stage for a rare UK performance, singing Jesus On The Mainline. A career-long champion of folk music, he is renowned for his inspired slide guitar playing, and through his own work and collaborations with others, from The Rolling Stones to The Chieftains and Buena Vista Social Club.

British singer-songwriter Al Stewart also took to the stage for a performance of his 1977 song, On The Border. Al started his career on the 1960s London folk scene, and has worked alongside Bert Jansch, Jimmy Page, John Renbourn, Rick Wakeman, Tori Amos, Roy Harper and many more. Appearing at the first Glastonbury Festival in 1970, he became known for his brand of folk-rock, which he combined with tales of characters and events from history. He’s best known for his 1970s hits Year of the Cat and Time Passages.

Tony Blackburn presented Al Stewart with his award and regaled the audience with his own personal story of Al. He explained that in the early 1960s, he had in fact been the lead guitarist in Tony’s own group, ‘Tony Blackburn and the Swinging Bells’.

Tony said: “We used to practice at my parents’ house and, as good as he was, he always played his electric guitar far too loud as it always drowned out my vocals… The fact I’m here tonight will do Al’s credibility a lot of damage but I don’t care as I’ve enjoyed playing ‘Year of the Cat’ very much over the years and I haven’t seen him in a long time. It really is an honour to present this Lifetime Achievement Award to such a talented musician.”

The evening opened with a rousing performance by Afro Celt Sound System. And across the night there were spectacular performances from Shirley Collins MBE (performing Washed Ashore), Daoirí Farrell (Van Diemen’s Land), Jim Moray (Fair Margaret And Sweet William), Billy Bragg (I Ain’t Got No Home), and Fara (Three Fishers).

There was a powerful and moving performance taken from the Ballads of Child Migration, which tells the story of the enforced migration of over 100,000 children to Australia and Canada between 1863 and 1970. The specially-curated performance was narrated by Barbara Dickson with original songs performed by Kris Drever, Jez Lowe, While & Matthews, Boo Hewerdine, O’Hooley & Tidow, John McCusker, Andy Cutting and Michael McGoldrick.

Folk icon Woody Guthrie was inducted into the Radio 2 Folk Awards Hall of Fame, to celebrate his lasting influence. Billy Bragg performed a special tribute with a rendition of Guthrie’s I Ain’t Got No Home. The celebration marked 50 years since Guthrie’s death in 1967, aged 55. The musician wrote some of the most enduring standards in the genre with his life and work dedicated to supporting and documenting the rights of workers and the downtrodden. His songs have been covered by countless singers from Bruce Springsteen to Lady Gaga and he was a mentor to a young Bob Dylan and Ramblin’ Jack Elliott.

Lewis Carnie, Head of Radio 2 said: “Huge congratulations to all the winners of the Radio 2 Folk Awards 2017 – the calibre of all the nominees was outstanding. This annual event is a wonderful celebration of the vibrant folk music scene and tonight’s show was spectacular, featuring some of folk’s most long standing, biggest and newest stars which Radio 2 is committed to supporting throughout the year.”

The Folk Awards will be broadcast on BBC Four on Sunday 9 April at 10pm as an hour-long highlights programme which will include all the performances.

Alternatively, click on any of the links below to see the individual performances:










The full list of winners:

FOLK SINGER OF THE YEAR presented by Sharleen Spiteri
Kris Drever

BEST DUO presented by Peter Lord of Aardman Animations
Ross Ainslie & Ali Hutton

BEST GROUP presented by Sir Ray Davies
The Furrow Collective

BEST ALBUM presented by Mark Kermode
Songs of Separation – Songs of Separation

HORIZON AWARD presented by Rachel and Becky Unthank (of The Unthanks)
Daoirí Farrell

MUSICIAN OF THE YEAR presented by Gus Unger-Hamilton from Alt-J
Rachel Newton

BEST ORIGINAL TRACK presented by Susie Dent
If Wishes Were Horses by Kris Drever

BEST TRADITIONAL TRACK presented by Pauline Black of The Selecter
Van Diemen’s Land by Daoirí Farrell

BBC RADIO 2 YOUNG FOLK AWARD presented by Simon Nicol of Fairport Convention
Josie Duncan & Pablo Lafuente

LIFETIME ACHIEVEMENT AWARD presented by Tony Blackburn
Al Stewart

LIFETIME ACHIEVEMENT AWARD presented by Nick Lowe
Ry Cooder

HALL OF FAME INDUCTEE
Woody Guthrie

Building up to the Awards, Simon Mayo’s Radio 2 Drivetime programme was broadcast live from the Royal Albert Hall. In the show, Simon counted down the Top 10 Most Played Folk Songs on Radio 2. Compiled by PPL, the Number 1 track was Yusuf/Cat Stevens’ Wild World – released in 1970, which featured on his fourth album, Tea for the Tillerman. It wasn’t released as a single in the UK, but reached No 11 on the US Billboard chart. Jimmy Cliff released his recording of Wild World in 1970 – produced by Cat Stevens – reaching No 8 in the UK; with Maxi Priest hitting No 5 with his version in 1988. Cat was presented with the Lifetime Achievement honours at the Radio 2 Folk Awards in 2015. Number 2 of the Top 10 Most Played Folk Songs on Radio 2 was Fleet Foxes’ White Winter Hymnal; at No 3 was Bellowhead’s Roll the Woodpile Down; at No 4 was Meet Me On The Corner by Lindisfarne; No 5 was Underneath The Stars by Kate Rusby; at No 6 was River Man by Nick Drake; No 7 was Fisherman’s Blues by The Waterboys; No 8 was Thea Gilmore & Sandy Denny’s London; at No 9 was Streets of London by Ralph McTell and at No 10 was Roll Away Your Stone by Mumford and Sons.

Yusuf/Cat Stevens said: “I’m surprised that we actually pipped to the post all these great folk singers and that it’s still being played. That makes me feel very satisfied and it shows that the song and the meaning is still relevant. Of course it is relevant because wild world is exactly what it is and exactly what we’re living in right now and it’s getting wilder perhaps.”

THE SHEE – Continuum (Shee Records SHEE4)

ContinuumThe concept behind Continuum, supported by Celtic Connections, was to celebrate their tenth anniversary by having each of them commission a musician of their choice to write a piece of music for the album. That’s only half the story, of course, for the band had then to arrange the music for six players and write some pieces to bind the whole thing together.

The opening song is ‘From The Shadows’ by Laura-Beth Salter. It’s a powerful call to arms to … ah, well. It could be a feminist piece, the logical first thought, but it could be a warning to the rich and powerful that the poor and oppressed aren’t going to take it any more. Next come two atmospheric pieces by Kathryn Tickell; one evoking the borders and the other with a Scandinavian feel. The playing, needless to say, is exquisite.

Rachel Newton commissioned Karine Polwart and the result is ‘Song For Mary’. The Mary in question is Mary Brooksbank, composer of ‘The Jute Mill Song’ and an archive recording of one verse forms the introduction. We’re not told that it’s Mary herself but I’d like to think it is. Amy Thatcher naturally turned to a box-player and who better than Andy Cutting? Olivia Ross’ choice was Chris Wood who shares the credit for ‘Cradle Song’ with lyricist Hugh Lupton. The Shee turns what could be a pretty little song into something quite strange so you’re not sure whether this a mother singing to her baby from the safety of a warm fireside or struggling home from the storm outside.

Laura-Beth, Amy and Shona Mooney provide the next two tune sets with Shona responsible for the wonderfully titled ‘The Vampire Rabbit Of Newcastle’. Olivia wrote ‘Precious Tears’, a song for children – possibly the band members’ own – and Brian Finnegan wrote a trio of tunes with Lillias- Kinsman-Blake’s flute and a journey through India in mind. Finally, we have Martin Simpson’s song for his mother. ‘Dance With Me’ might be seen as the companion-piece to ‘Never Any Good’. Laura-Beth sings it and plays mandolin where Martin would use guitar and the band play what is almost an orchestral accompaniment.

Continuum is a monument to musical collaboration and the exchange of ideas but more than that, it is a tribute to six exceptionally talented musicians.

Dai Jeffries

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 THE SHEE – Continuum link 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: https://theshee.com/

‘Ower Late For The Lasses/Sheepolska’ and more with Kathryn Tickell live at Celtic Connections 2016:

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:

Songs Of Separation – single and new album

Songs Of Separation - single, album and tour dates

Songs Of Separation is a highly significant collaborative recording project which reflects, through song, the issue of “separation” in its many forms. Featuring ten of England and Scotland’s most celebrated female contemporary folk artists, together they explore the similarities and differences in our musical, linguistic and cultural heritage. The ten participants are Eliza Carthy, Karine Polwart, Rowan Rheingans, Mary Macmaster, Hannah Read, Kate Young, Jenn Butterworth, Hazel Askew, Hannah James and Jenny Hill (who conceived the project).

Ahead of the release of the Songs Of Separation album and tour, Navigator Records are pleased to announce the release of a double A-side single release from the forthcoming album; ‘Echo Mocks the Corncrake’, featuring. Karine Polwart, and ‘A’ For Our Rightfu’ King’, featuring Hannah Read.

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.

‘Echo Mocks The Corncrake’ – a sort of video:

The Songs Of Separation ensemble will embark on a short tour early in 2016, culminating at Celtic Connections Festival in Glasgow on 24th January. Songs Of Separation aims to capture a sense of our times, exploring topical social and political issues through powerful music.

Artists’ website: www.songsofseparation.co.uk

Songs-of-Separation-group-s