It was during lockdown that the members of Bristol based chamber folk group Hedera started playing tunes together, around a bonfire. Having five members kept them on the right side of the rule of six. One wonders how long we’ll be hearing of projects that originated in lockdown, but those campfire sessions have led on to numerous live performances and now, the release of their eponymous debut album.
Hedera consists of Lulu Austin – violin; Maisi Brett – hardanger d’amour, violin, viola; Tamsin Elliott – harp, accordion; Beth Roberts – double-bass, violin and Isis Wolf-Light – clarinets, kemper, klanang. All five also provide vocals on two of the tracks. Hedera has eleven tracks – seven composed by a member of the band, and four traditional pieces. The complex arrangements draw on experimental minimalism and contemporary classical music. The tunes draw on various traditions, often reflecting the experiences of band members. Maisie’s time studying for an ecology PhD on the South African coast is the inspiration for the opening track.
‘Sterretjie’ is written for the terns found on the coastline and translates from Afrikaans as ‘Little Stars.’ The violin opening has a slightly sombre edge, but it quickly develops into a beautifully uplifting tune with an infectious rhythm. The track introduces an element found in arrangements throughout Hedera, where full use of the bands instrumental range is made by swiftly passing the tune between several instruments. In this case from violins, to clarinet, and accordion.
Two tunes by Isis follow, starting with ‘Threnody.’ The title means a lament, and this is an appropriately melancholic tune, played on solo bass clarinet and unmistakeably drawing on Balkan and Middle Eastern influences. It’s a short track, around two minutes, and passes almost imperceptibly to ‘Salamander.’ I picked up Balkan flavours again here, and the tune does draw on Bulgarian influences, as well as Ethiopian. That might explain the mystical edge, felt most strongly in the opening harp sequence, and the later sequence of harp and clarinet together. Isis wrote this at a time of new beginnings, the salamander being an ancient symbol of rebirth. It’s a complex tune that seems to convey varied moods, but I suppose new beginnings are not straightforward and there is a certain tension as it builds towards a strong. violin solo from Lulu.
Tamsin wrote ‘Waterwheel’ while contemplating a moss-covered water mill. The plucked notes and slowly rhythmic violin melody heard at the beginning and end, for me to nicely evoked the dropping of water and the slow movement of the wheel. In between it’s another complex track with shifting melodies, including a lively accordion sequence, drawing on Breton dance tunes that Tamsin loves.
‘An Buachaillin Ban’ (‘The Fair-Haired Boy) is a beautiful traditional Irish air. It’s a favourite of Tamsin, whose fine harp playing is prominent throughout. On this track we hear Maisie’s hardanger d’amour, an instrument slightly bigger than a violin, with ten strings.
‘May Flies In June,’ is a waltz written by Beth, and is inspired by the life of a Cornish meadow. A delicate violin melody leads, accompanied by harp, clarinet, and strings. I think this is a gorgeous track, which transports us to the joy of a summer meadow. From an album full of great tunes, this is the one that has stayed with me.
Two ancient traditional tunes follow. The stately opening to the first, with accordion and strings, brings to mind a church organ. That is appropriate because ‘Shen Khar Venakhi’ is a thousand-year-old hymn from Georgia. This is one of two tracks that include vocals, with a sequence of beautiful harmony singing by all five Hedera members. ‘She’s Sweetest When She’s Naked’ is comparatively modern, dating back a mere four hundred years. This lovely tune originates in Northumberland but is common in Scotland. The haunting notes of Tamsin’s harp open and continue to provide rhythm as strings take up the melody. Incidentally, if this sounds a bit erotic, I can reassure (or disappoint) you by pointing out that the tune is about whisky. The message is that whisky tastes better when not drowned in lemonade – or whatever they put in it four centuries ago.
‘The Long Awaited Rain’ opens with accordion accompanied by plucked strings, evoking the rain of the title. The complex and rhythmic tune was written by Tamsin for her parents, and refers to a time when a dry period was relieved by rain over their Suffolk small holding, The other members of Tamsin’s trio – Sid Goldsmith and Rowan Elliot – play cittern and five stringed fiddle on this track.
Isis has lived in Bali and is a devotee of Balinese Gamelan music. The title of her composition ‘Sekar jagaf’ (translated from Balinese as ‘Fower of the Universe’) is taken from the motif found on Gamelan pieces. It opens with percussive string playing, before a gentler clarinet melody develops. Gamelan is percussion ensemble music, and the percussive feel continues throughout, while Isis’ excellent clarinet playing introduces sometimes jazzy elements. Kempur and klanang gongs add to the Balinese flavour.
The clarinet is prominent again at the opening of the final track, bringing Balkan and Gypsy jazz vibes to a traditional Bulgarian song (and circle dance), ‘Koga Me Mama Rodila.’ As is often the case with Balkan melodies, there is a melancholic feel, although the words celebrate the beauty of the natural World. This is the second of the vocal tracks and the song seems to emerge out of the tune, initially with Beth’s solo voice, then with four-part harmony.
It’s been a pleasure to listen to a really thoughtful, intelligent, and beautifully performed album. Hedera consists of five very talented women, each bringing their own influences and experience. The result is an album of great variety, with each track offering something new. It’s not always easy for an instrumental album, which this essentially is, to feel fresh and engaging throughout. Hedera succeeds in doing that. An impressive and exciting debut.
Graham Brown
Artists’ website: Hedera – chamber folk from Bristol, UK | hedera
‘Sterretjie’ – official video:
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