Having previously traded under their own names, Phillip Henry and Hannah Martin have decided to save space on the album sleeves (well, after this one anyway) by reinventing themselves as Edgelarks. Fans will be pleased to know, however, that, musically, the duo haven’t rung too many changes.
Featuring contributions from Lukas Drinkwater on bass, John Elliott on drums and keyboards and table player Niall Robinson, inspired by last year’s tour of Australia, the album deals with themes of margins and marginalisation, of boundaries, transition and hope, opening in ‘Landlocked’, a moody, banjo-pinioned song about Nancy Perriam, a woman from Exmouth, who, in the early part of the 19th century, went to sea and travelled the world with the navy.
The slouching rhythm of ‘No Victory’ introduces a new instrument to their musical repertoire with Martin playing a pedal powered shruti box while the track also features Henry’s beatbox harmonica technique. Indeed, the instrumentation throughout is as eclectic as it is extensive, featuring Dobro, fiddle, banjo, a variety of guitars and the return of the Chaturangui, an Indian classical slide guitar played by Henry. On ‘Undelivered’, a song inspired by the discovery of a trunkload of undelivered 17th century letters, specifically one from a woman to the father of her unborn child, he even plays his lap slide Weissenborn with a paintbrush to create a buzzing drone.
Of a more recent origin, three intersecting true stories make up the sparse, drone-backed ‘Caravans’, pivoting around the 2010 sub-prime mortgages crash documented in the film The Big Short and exploring themes of ensuing loss and lives lived outside the financial vortex where dreams can kill.
Elsewhere, the Celtic-tinged ‘Signposts’, the most traditional folk sounding number, and the minimalist and appropriately glacial arrangement of ‘Iceberg’ offer fairly straightforward metaphors about making connections and people having hidden depths, respectively.
A suitably discordant affair, ‘Yarl’s Wood’ strikes a political note, being titled after and written about the Bedfordshire immigrant removal centre and the allegations of the abusive treatment of the women detainees, the theme of refugees resurfacing on ‘Borders’, which, set to drone and clacking percussion, is based around the true story of Afghan refugees who, seeking to ensure her future, send their five-year-old daughter on a journey, on foot, with two cousins to northern Europe in search of asylum.
Thematically connected, the tabla-dappled ‘Song Of The Jay’, ostensibly about how the Californian Bush Jay apparently sings a special song for the ‘funerals’ of other birds, of different species, serves as a metaphor for universal kinship. The drone is also created from a sample of a Jay singing.
Although also going by the title ‘The Emigrants Song’, sung in Cornish by Martin, the rhythmically pulsing traditional ‘Estren’ takes a different tack in the tale of an American traveller in Cornwall, leaving it open to question whether he intends to be true to the woman he meets and declares he’ll take back home or that she’s the latest in the list of those to whom he’s pledged s his loves.
There’s another traditional number to be found with the mortality-themed ‘What’s The Life of Man?’ given a suitably simple and reflective tone before the instrumentation swells in the final stretch. As well as them both featuring the Chaturangui, it also serves to set the scene for the upbeat final track, the self-penned, acoustic accompanied ‘The Good Earth’ which treats on nature’s life cycle of death and renewal and, by extension, the connections we share with one another, both those around us and those who have gone before as she sings how “we grow on old wood, we are links in the chain.”
The couple say they chose their new name as it captures the concept of liminality or transition explored in their songs and the idea of their music being on the periphery. Given the quality here, that may be a status that will also prove to be in a state of transition.
Artists’ website: www.edgelarks.co.uk
‘Song Of The Jay’:
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