Given the praise heaped on Kitty Macfarlane’s 2016 EP, Tide & Time, expectations are understandably high for her first full-length album release, Namer Of Clouds.
Macfarlane’s light soprano, paired with an equally light-fingered plucky guitar, nonetheless contains a filament of controlled determination. Softness and steel are never far apart, even in the delightful gentle lullaby of ‘Dawn And Dark’.
Macfarlane’s strong poetic sensibility is evident from the CD booklet: song lyrics rarely read well but here they hold their own, even against Gerard Manley Hopkins’ poem, ‘Inversnaid’. Her songs often pull focus in a graceful shift from particular to abstract, like ‘Namer Of Clouds’ where Luke Howard’s original cloud identification system forms the starting point for contemplating the human need to name – and thus own – the world. Jacob Stoney’s riffling keyboard and the dense, layered swell of the arrangement underscore the narrative movement.
‘Seventeen’ is a rites of passage song with an underlying chill, much like ‘Frozen Charlotte’, an Appalachian cautionary tale of the perils of not wearing your big coat. Its finale, stripping away the instrumentation, allows an intense intimacy to the vocal, an idea also used effectively in ‘Morgan’s Pantry’, whose softly pounding drum, gull calls and water sounds add atmosphere to Macfarlane’s softly rasping vocal.
‘Sea Silk’ tells of Chiara Vigo, keeper of an almost fairytale tradition of the spinning of brownish clam silk into a golden thread by the womenfolk of Sant’Antioco island, off Sardinia. There’s a real sense of joy and wonder in chronicling this disappearing skill, and a slightly manic glee at accomplishing the feat.
As mentioned before in these pages, there’s a real vogue at present for adding ambient natural recordings and Macfarlane’s no exception, right from opener ‘Starling Song’, loaded with birdsong over a lean, steely slick of guitars and percussion to the closing ‘Inversnaid’ with its celebration of ‘the weeds and the wilderness’.
Studio wizardry is generally skilfully and subtly deployed and arrangements are convincing, although a folk rock re-working of ‘Wrecking Days’ doesn’t feel entirely comfortable. A handful of Lost Boys lend their creative talents, with Graham Coe’s tender cello fleshing out the softly-spoken defiance of ‘Man, Friendship’ and Jamie Francis’s lithe, writhing guitar under the migrationary musings of ‘Glass Eel’.
Macfarlane’s debut certainly doesn’t disappoint: it’s an assured and confident album that delivers all that the EP promised, and more.
Artist website: www.kittymacfarlane.com
‘Man, Friendship’ – official video:
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