VIDEO WALL 7

It has been a while since we posted a video wall but some goodies have been arriving recently. A few are related to upcoming releases and some are just for fun.

We begin with Serious Sam Barrett and an unofficial taster for his new album Where The White Roses Grow which will be reviewed here very soon. This is a live take on the title track.

From another album that will be reviewed soon, this is Mandolin Orange and ‘The Wolves’ from the album Tides Of A Teardrop.

Skinny Lister’s new album The Story Is… will be released on March 1st. This is the official video of the title track.

We have already reviewed Anne Marie Almedal’s album Lightshadow. Here’s her version of The Cure’s ‘Lovesong’.

We will always review an album from the mighty Breabach.  Here’s the single, ‘Birds Of Passage’, from their most recent album Frenzy Of The Meeting.

We missed this one when it was released last year but it’s a song that deserves a hearing. Tommy Ashby sings ‘Bowlegged’.

Seeing that Richard Thompson is our top solo artist of 2018 – Charlie Foskett thought he’d post you this Thompson penned piece of sadness from his forthcoming debut folk album collection Bugles And Bagpipeswww.foskettsfolkfactory.com – It’s almost completed and hosts many high profile guests whose magical, musical input you are just going to love – including Peter Knight and Rick Kemp (ex Steeleye) – Aidan Burke (cousin of Kevin Burke – Bothy Band and Ireland’s number celtic fiddler for the last 22 yrs – Julie Felix (duet) – Simon Care (Albion Band ) – Chris Spedding – Wizz Jones – Mike Wilson and Damian Barber (Demon Barbers) – Judie Tzuke and more !

The official album launch will be early summer 2019 along with a big, big promo campaign and tour to follow with his newly formed band The Pitmatics! – www.pitmatics.co.uk

Charlie says:

I originally recorded and produced the first version of ‘Nothing at the End of the Rainbow’ in 1986 with Elvis Costello – I was working with Elvis and Loudon Wainright III on other material at the time for EMI Records – I remember receiving a cracker review saying that I had produced “A Song to Slit one’s Wrists to” ! that was the headline – nothing’s changed there then! This, my own version also features Peter Knight on fiddle!

Mostly for fun now. Here are our old mates Merry Hell and ‘My Finest Hour’ from their album Anthems To The Wind. A wonderful euphemism.

 

 

BREABACH – Frenzy Of The Meeting (Breabach Records, BRE005CD)

Frenzy Of The MeetingHaving toured the world, won awards and created an immensely successful album, Astar, zinging with creative fusion, what would Breabach do next? Judging by their latest album, Frenzy Of The Meeting, released in late October, the answer seems to be to find a revitalised inspiration in the traditional music of home.

Never a band to stand still, Frenzy Of The Meeting finds Breabach testing new waters once again. As usual, tracks were initially laid down live in the studio in order to capture the band’s essential sound. The band then enhanced these tracks during further studio sessions, in collaboration with producer Eamon Doorley. The final result is still absolutely Breabach, but in a subtly fleshed out way.

Starting with Bonnie Prince Charlie landing on a chilly beach on Eriskay, the low-slung guitar and bass of ‘Princes Strand’ provide solid ground for a rather wistful tune carried by whistles and pipes, as well as forming the link to ‘Knees Up’. This uplifting two-tune set pits ferocious piping against Megan Henderson’s soaring vocals.

Delicate bouzouki wreathes through ‘Winter Winds’, Calum MacCrimmon’s utterly beautiful song comparing the changing weather to the healing nature of time, “give it time and the sky will change”. Sharply switching mood, the stomping opening to ‘Western Isle Dance’ pairs a lively traditional tune with James Lindsay’s more reflective musing on the nature of alternative facts.

Ewan Robertson and Michael Farrell’s thoughtful ‘Birds Of Passage’, inspired by Longfellow’s poem of the same name, contemplates aspects of migration, its upwardly spiralling instrumentation mirroring the lyrics. The ballsy, sinuous ‘Google This’ follows, intriguingly paired with a traditional waulking song which sounds like it shouldn’t work, although – of course – it does.

The title track, ‘Frenzy Of The Meeting’ opening with a deep bowed bass and lithe fiddle bubbling over mouth harp, is a darkly delicious meshing of Henderson’s tune ‘Incahoots’ with the low chant of a traditional Ceòl Mòr. The album wraps up with ‘Oran Bhraigh Rusgaich’ which builds on its core of atmospheric harmonium drone, airy reverb and sparse guitar into a grand climactic finale, leaving just a trace of whistles hanging on the air.

Frenzy Of The Meeting may not have quite the same immediacy as its predecessor, but it has a satisfying deep richness and texture all of its own. It’s a fascinating new development in Breabach’s work, building yet more layers, more experiment and versatility into their sound.

To see this album in live performance, catch Breabach on tour around the UK now and until February 2019.

Su O’Brien

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‘Birds Of Passage’ – official video: