DARIA KULESH – Earthly Delights (own label)

Earthly DelightsDaria Kulesh is a very highly-rated performer in the hallowed virtual halls of Folking.com, so I count myself as rather lucky to have got a review copy of her forthcoming CD Earthly Delights, due for release on May 31st 2019. Once again, she is supported by an impressive selection of musicians. As well as many names already familiar from her previous CDs and/or live performances (all reputable musos in their own right, of course), three tracks also feature characteristically fine fiddle from the Phil Beer (tracks 4 and 9) and Tom Kitching (track 1). Most of the production is expertly handled by Jason Emberton, who also contributes much of the accompaniment.

As you’d expect, there are several songs here that derive from Daria’s Russian and Ingush heritage and her knowledge of Slavic folklore, but this time she’s cast her nets a little wider, without compromising her ability to tell a story in song.

Here’s the track listing.

  1. Daria’s lyrics to ‘Golden Apples’, with music by Igor Devlikamov, are based on a Russian folk tale concerning the Firebird, though not the story that forms the basis of Stravinsky’s ballet. An exhilarating start to the album.
  2. ‘Quiet Joys Of Brotherhood’ is Richard Farina’s lyric to the tune better known as ‘My Lagan Love’, a glorious melody collected by Herbert Hughes in Donegal in the early 20th A sensitive reading with restrained instrumental and vocal accompaniment, rather than the full-on harmonies of Sandy Denny’s version. Closer, perhaps, to the gentle orchestration of the version recorded by Mimi Farina after Richard’s death, though Daria’s vocals are more animated and accurate in pitch. (I still love Mimi’s version, though.)
  3. ‘Shame Or Glory’ is by Daria, and makes the very valid point that a McGonagall or Florence Foster Jenkins has the same drive to create and succeed that characterize more “successful” creators, and we should respect that. The arrangement has a sort of Kurt Weill/cabaret feel that I find very appealing. I like the interplay between Jonny Dyer’s guitar and Marina Osman’s piano, too.
  4. ‘Earthly Delights’ is another of Daria’s own songs. One of the ‘delights’ of Daria’s songs for me is the way that a line will sometimes spark an unexpected association, like the echo of ‘The Two Magicians’ in ‘The Panther’, from her last CD. In this case, it’s the line “Strange fruit in the garden of earthly delights“. The subject matter is far removed from Meeropol’s protest against lynchings, being more about the message that “If seeking pleasure and following your heart doesn’t hurt, subjugate or break others…then perhaps it’s a natural way to be…?” Yet there’s something very apposite about the last verse here: “Oppressed and oppressor…One person’s wrongs are another one’s rights.” An accomplished performance of a delightful folky tune with stunning fiddle from Phil Beer.
  5. There are many Slavic folk tales about rusalki (water spirits), often translated into literature and music – Dvořák’s opera is a particular favourite of mine. Daria’s ‘Rusalka’, however, is based on a short poem of 1819 by Pushkin, as translated by John Farndon and adapted and shortened by Daria, who has set it to music. Its presentation in this slightly condensed form does it no harm at all.
  6. Daria’s ‘Vasilisa’, previously released as a single, draws its theme from a Russian fairy tale in which the heroine encounters the supernatural Baba Yaga. While the story to some extent resembles the Cinderella story, Vasilisa seems morally more ambiguous. Oddly enough, the modality of the melody makes it a highly suitable companion piece to ‘Quiet Joys Of Brotherhood’, though the instrumentation has a decidedly Asian feel.
  7. ‘Morozko’ is another of Daria’s retellings in music of a Russian folk tale, with accompaniment that stresses its Eastern European origins.
  8. ‘Cap And Bells’ is an effective setting by Joseph Sobol of a poem of W.B. Yeats, from Sobol’s theatrical cycle In The Deep Heart’s Core: A Mystic Cabaret, with most of the accompaniment carried by Marina Osman’s piano.
  9. An unexpected inclusion is Percy French’s ‘Pride Of Petravore’. I have to admit that Daria makes the best of its tortuous Irishisms, though.
  10. Daria’s ‘Made Of Light’ is, in more than one sense, a lighter song, almost a ballad, augmented by Jonny Dyer’s expressive trumpet. Lovely.
  11. ‘Greedy King’ sets Daria’s lyric to a tune by the multi-talented Jonny Dyer, and melds a Soviet joke and the story of the Wise Men of Gotham into a telling commentary on the sad state of today’s world (not to mention yesterday’s!). The lyric may sound like a counsel of despair, but musically it offers a suitably upbeat finale.

Where Long Lost Home can be seen as a very personal journey into Daria’s own family history and heritage, Earthly Delights draws on a wider range of source material that still comes over as essentially Daria: some beautiful melodies, fascinating lyrics, all exquisitely sung and adventurously arranged. If you’re not familiar with her work, this is a good place to start.

The CD will be launched at Dunton Folk on 1st June 2019.

David Harley

Artist’s website: www.daria-kulesh.co.uk

‘Golden Apples’ – official video:

Daria Kulesh’s Earthly Delights available for pre-order

Daria Kulesh

This week only – until the end of Sunday 27th January – you can pre-order the new album, Earthly Delights, to be posted from Daria with love on Valentine’s Day!

Patrons will be getting the album at least two weeks earlier, and the rest of the world will have to wait till the album launch tour in May-June 2019, culminating in an album launch spectacular – backed by a stellar 7-piece band – at Dunton Folk (St Mary Magdalene’s church, Dunton, SG18 8RR) on Saturday 1st June 2019. Buy tickets

Daria Kulesh’s upcoming third album Earthly Delights is a grateful and playful exploration of human nature: of love, desire, curiosity, ambition and other urges that drive us, both physical and spiritual. It retells and twists fairy tales, episodes from history, urban legends – rich old stories that are timeless, ever relevant and relatable. “Great battles of love and life” (Mike Harding) that we all live through, every day.

Let Daria transport you to an enchanting fairytale world full of colour and flair, light and shade, passion and intrigue, where stories come to life and “songs aren’t just sung, but lived” (FATEA Magazine).

Order from: http://www.daria-kulesh.co.uk/earthly-delights/

‘Vasilisa’ – official video:

SINGLES BAR 34 – A round-up of recent EPs and singles

Singles Bar 34Tablelands is the third of the trilogy of EPs by INDIA ELECTRIC CO. that began in the city with EC1M and ends somewhere hot, red and swampy. The format is much the same as before: Cole Stacey on vocals and percussion and Joseph O’Keefe on everything else. The difference is in the sophistication and confidence shown by the duo. The songs are rich and mysterious with lines that lodge in your brain. “There’s something in the water, we all know” comes from ‘Mareeba’, which is a town in Australia, although that knowledge doesn’t really help. ‘In Absence’ is particularly good with more intriguing lines that don’t quite make sense unless you have the context. The closing ‘Gold In The North’ sums up, in a wave of nostalgia, the city/country dichotomy that has threaded its way through the trilogy. “There’s gold in the North”, they admit, “but it’s hard to leave here”.
http://indiaelectricco.com/

MerrymakerRisen from the ashes of Merrymouth, the folk project by Ocean Colour Scene’s Simon Fowler, MERRYMAKER comprises Dan Sealey, who was a member of both (and now, alongside his dad, also part of the revived Cosmotheka which featured his last uncle) alongside Adam Barry (also ex-Merrymouth and the third Cosmotheka member), Paul McCormack and Hannah Lawson. Sealey has a similar Bee Gees-like warble to Fowler, providing a vocal continuity between the bands, and also happens to be an equally excellent songwriter.

Following on from three singles, including 2016’s ‘We Don’t Want A War’ protest against the bombing of Syria, ‘Unnatural Progression’ (self-released) is their debut EP, a five-track collection of four originals and a version of the traditional ‘The Trees They Do Grow High’. Orchestrally arranged opener ‘Evergreen’ is a majestic, soaring anthem that sets the nature theme that runs through the Harvest Moon-like Neil Young trot of ‘Rainclouds’, fiddle-driven midtempo catchy chorus stomp ‘Midst of Summertime’ and the brass-tinged and jazzy woodwind eco-warning ‘The Future Looks Back’. Can we have a whole album’s worth soon, please?
https://www.merrymakermusic.co.uk/

The Girl With The Cloak is a beautiful little bundle of songs by Ayrshire based musician, EMMA DURKAN. At just 25, she already has an impressive array of accolades and honours to her name, not to mention an undeniable talent. Performing on the fiddle and clarsach, the EP is made up of six tracks which are written, arranged and sung by Durkan, creating a tangible fusion between traditional and contemporary.

A majestic, fiddle-led number, titled, ‘The Truth’ kicks off the record, and flows into the equally pretty, if comparatively more stripped back ‘Green Light’. For me, it is ‘Trying’ which steals the show, dealing with the monotonies, expectations, struggles and challenges of daily life in its relatable lyrics, which sit nicely alongside Durkan’s musical arrangement. The title track is perhaps the most mournful of the EP, with its “Girl With The Cloak” protagonist being revisited and referenced in final number, ‘Stepping Stones’ creating a sense of closure, as the record bows out on a truly beautiful note.
www.emmadurkanmusic.co.uk

Available from her website, DARIA KULESH offers up Autumn Delights, the final of her four seasonal EPs (available in a limited handmade sleeve edition) and a prelude to next year’s Earthly Delights album. A four track selection, it again affords an eclectic and geographically wide-ranging mix, opening with a cover of Kara’s ‘Union Street’, a waltztime song celebrating the harvest, here given a gorgeous Quartet arrangement featuring Tristan Seume on guitar, Marina Osman’s descending piano chords and, bookending the number, Kate Rouse providing shimmering hammered dulcimer.

Osman’s also on hand for ‘Boston Waltz’ which, despite the title, is actually of Russian origin, where it’s known as ‘Vals-Boston’. An autumnal vision of a young dancer whirling through the neighbourhood leaves written by Leningrad-born songwriter Alexander Rosenbaum (or, to be accurate, Aleksandr Jakovlevič Rozyenbaum), a highly significant and influential figure on the Soviet cultural scene, it’s his biggest hit though little known outside of Russia. Kulesh (who, at 16, apparently performed it at an Italian beauty pageant, winning the Miss Mystery title), naturally, sings it in her native tongue. There’s a touch of Piaf about the song, so it’s surely no accident that, backed by Jonny Dyer on guitar, she ends singing (in full smoking torch mode) in French, her choice being ‘Les Feuilles Mortes’, a song of longing, loss and decay written in 1945 by Joseph Kosma and Jacques Prévert and, more commonly known in its translated version as‘Autumn Leaves’, first popularised by Yves Montand from whose 1951 recording Kulesh learned it, complete with the original spoken intro.

Again featuring Dyer, the remaining track, by popular request, is her achingly tender and highly emotional reading of the sad and angry ‘No Man’s Land’ (aka ‘Green Fields of France’), Eric Bogle’s classic anti-war song and as fine a recording as you could wish to mark the upcoming 100th anniversary Remembrance Day.
http://www.daria-kulesh.co.uk/

PILGRIM ST release The EP in advance of their debut album. Although Irish in origin their influences come from the other side of the Atlantic – bluegrass and mountain music are to the fore. ‘My Little Blackbird’ is a banjo driven foot-stomper to open the set and you might be suckered into thinking that you’re in for four tracks of rousing “yee-hah”. But…’Givin’ It Up This Time’ is entirely different. It’s slow and sad, talking about “the insomnia train” and “polluting your system”. It’s a bit grim, actually. ‘Emerald’ possibly comes from ancient Irish history but it also speaks to every invasion of one country by another that has ever happened and finally ‘Hurt People Hurt People’ goes back to Americana but without the swagger of the first track. It leaves us wondering.
www.pilgrimst.com

Based in London, CATTY PEARSON trades in folk, country and blues on her October released debut streaming/download EP Time Tells Me (AWAL), recorded with the legendary Chris Kimsey, on which she’s joined by Ollie Clarke on the guitar, drummer Evan Jenkins, Flora Curzon on violin, and folk luminary Lukas Drinkwater on bass with Nichol Thompson and Jansen Santana providing trombone and percussion, respectively playing percussion. Likened to a folksier Norah Jones, she describes five tracks as an enquiry into materialism and the insidious creeping of technology into all areas our lives, opening with the fiddle adorned, steady rhythmic pulse of lead single ‘Electricity’, while ‘Time Tells Me This’ has a smoky late night soul feel reminiscent of Wendy Waldman and ‘Smothered Love’ steeped in prowling jazzy blues flavours. Another breathily sung ballad, this time more acoustic in nature, ‘Northern Sky’ has a suitably clear night air tone, the EP rounded off with the softly sung, circular fingerpicked patterns of ‘Moment Too’. Definitely a name to watch.
https://www.cattypearson.com/

Sunlight is the debut EP from Leicester sing-songwriter TIMOTHY HOAD and it’s a delight. The title track, which opens proceedings, is an up-tempo and, indeed, uplifting song built on a drum and handclap rhythm. Timothy has a gift for both melody and lyrics and the second track, ‘The Ghost I Loved’, has a nicely twisty story and is perversely optimistic given that the singer is about to be executed – or was that his plan all along? The third track is ‘Shapeshifter’ and it just leaves us wanting a whole album.
https://www.facebook.com/timothyhoadmusic/

O&O are a London-based American-Israeli duo consisting of Obadiah Jones and Orian Peled, both graduates of the Liverpool Institute for Performing Arts, Truth Comes Out being their self-released debut EP. Described as Fleetwood Mac meets the Civil Wars, they bolster the claim with the steady rolling rhythm of the blues tinged title track and the country-rock chug ‘Saturday Morning’, showing a softer side duetting on the rippling missing-you ballad ‘Tears In The Rain’ (a former single) and the slow burn, pedal-steel stained waltz ‘Rolling On’. A very fine addition to the burgeoning UK Americana scene.
https://www.oandoduo.com/

Some musicians make an EP on a shoestring to get their name out there while they save up to make an album. Not so DAVID LEASK, whose Six In ›6/8 was recorded with nineteen musicians in Toronto, Montreal, Nashville and Muscle Shoals. Scottish-born David lets his native country peep through with some lovely whistle on ‘Red Balloon’ but ‘Caught In The Tide’ quickly crosses the Atlantic to Canada where he now lives and grows in the crossing. Six wants to be an album when it grows up but at six regular-length tracks it doesn’t really make the cut while, at the same time, it’s too heavy duty for an EP. ‘Can’t Make It Back Home’ is probably the best song in the set but it’s swamped by the arrangement.
www.davidleask.com

Another duo with Mac-influences, this time from Birmingham, GASOLINE & MATCHES are Sally Rea Morris and Steve Marks who, aside from regularly hosting local Nashville Sounds in the Round sessions for upcoming UK country names, are establishing their own solid momentum having been nominated alongside The Shires and Ward Thomas for Duo of the Year at the 2018 British CMA Awards. Produced by Gavin Monaghan, their third single is the mid-tempo but full-blooded ‘Not Into Country’, a musical differences break-up number with Morris on lead and Marks providing the muscular guitar breaks.
https://www.gasolineandmatchesmusic.com/

Everything’s Fine is the latest three-track by YVONNE LYON and, like many musicians it seems, she has chosen to be upbeat and optimistic in face of the chaos that is taking over the world. It’s a fine song but ‘Where The Poor Find Gold’ may be even better although not such an obvious lead track while ‘Hope’ rounds out the set with soulful vocals over an electronica backing.
www.yvonnelyonmusic.com

RUSTY SHACKLE provide a taster for their upcoming new Passion, Death & Joy album with ‘Sam Hall’ (own label), a typically driving slice of folk-rock, emphasis on drums and fiddle, telling the story of the 18th century highwayman, here reflecting on his life as chimney sweep to thief to the gallows.
http://www.rustyshackle.com/

LICKING THE MOOSE are a Norwegian Americana band and their single ‘Murder Ballad’ is the audio equivalent of Scandi-noir television. Pained, whisky-soaked vocals sit on a rather ponderous piano-led accompaniment. It’s a strange song, probably something to do with the voice that the singer is hearing. Not a lot of laughs.
https://www.facebook.com/Licking-The-Moose-46368089157/

JOEY COSTELLO has previously featured in these pages and is back with a new single, ‘So High We Lose Our Minds’. Nicely simple with ringing guitar chords and backing vocals and Joey’s all-but-impossible falsetto.
https://joeycostello.com/

 

 

Singles Bar 34 Singles Bar 34

 

 

 

 

 

 

 

SINGLES BAR 31 A round-up of recent EPs and singles

Singles Bar 31Special Commissions is just that, a set of songs written or recorded by JIM CAUSLEY, for one-off projects and left in search of a home. ‘City Of  Trees’ is about Exeter and initially sounds very folky but Jim cleverly quotes other bits of music as he writes about wassailing and oak-apple day. Tony Deane, of ‘Following The Old ‘Oss’ fame, wrote ‘Diamond Of The Moor’ about a murder and possible miscarriage of justice on Bodmin Moor in 1844 and ‘Green Lanes’ was written to accompany a series of talks by Valerie Belsey, the country’s leading expect on the subject.

Inevitably there is a Charles Causley poem, ‘On The Border’, written for an event in Launceston. Its richness sent me for checking for the names of other musicians but this is all Jim’s work although producer Mark Tucker may have had something to do with making it so. ‘Pride Of The Moor’ concerns the Devon tin-mining industry, less celebrated than its western neighbour while ‘Glorious Devon Morning’ is a paean of praise for Jim’s native county – written by a Scot.

Finally we have ‘Unearthed Theme’ one of sixty-something songs written for the Villages In Action’s Unearth scheme. This one is used to top and tail each show to explain to audiences what these strange people are doing in their village. It also exemplifies much of Jim Causley’s work – celebrating “this wonderful place we call home”. The Special Commisions EP is available exclusively from
www.jimcausley.co.uk

DARIA KULESH continues her series of seasonal EP releases with Summer Delights which features her regular collaborators, Jonny Dyer, Marina Osman and Tristan Seume. This begins with a rather nice take on ‘Like An Old Fashioned Waltz’ –it’s hard to tell who’s doing what. Is that Jonny or Tristan on guitar; Jonny or Marina on keys? Whichever, Daria gives the song the same distant, romantic feeling that informed the best of Long Lost Home. From then on it’s all Russian. ‘Mokhnatyi Shmel’ is a piano-driven and madly operatic song … about a bumblebee; ‘Rusalka’ is a long-time favourite from Kara’s first album and still present in the new band’s repertoire and ‘Perevoz Dounya Derzhala’ is another big, vibrant song and that is definitely Marina on piano. It doesn’t matter what it’s about, it sounds wonderful. These releases are available only from Daria on subscription: visit her website to find out more.
www.daria-kulesh.co.uk

It’s funny how popular ‘Jolene’ has become over recent years and it’s the first track on The Undercover EP by MAZ O’CONNOR, a set of her favourite covers. She must have been a hell of a woman to put Dolly Parton in the shade! Second up is a gorgeous version of Paul Simon’s ‘Kathy’s Song’ with echoey fingerpicked guitar and a slight reverb on Maz’s multi-tracked vocals. Green Day’s ‘Good Riddance’ is third, opportune as the Donald flies in, followed by ‘Don’t Think Twice It’s Alright’ sung with an air of resignation that tugs at the heartstrings as she mixes old and new. Maz does the choir bit on ‘You Can’t Always Get What You Want’ which raises a smile. ‘Stay With Me’ is the Sam Smith song, not the Faces’ rocker, which would have been too much to ask for and the set closes with ‘Wonderful World, a difficult song to do anything new with but Maz just about pulls it off. This is a really nice set.
http://mazoconnor.com/

‘Air Fàir An Là ft Sian’ is a new single by folk/electronica band NITEWORKS. The words were written by Màiri nighean Alasdair Ruaidh on the Isle Of Skye in the 17th century. Sian are a trio of female Gaelic singers who specialise in the songs of female Gaelic bards which might make them something of a niche market but the addition of Niteworks’ traditional instruments and modern techno sounds opens it up to a wider audience.
www.niteworksband.com

STEAMCHICKEN are working on a new album and from it comes ‘Violet Lane’ a wonderfully off-the-wall Victorian tale of working girls who take the law into their own hands when faced with violence. A blend of folk and swing, it will available to download this week. Violet Lane is in Croydon, by the way. Who knew?
http://www.steamchicken.co.uk

‘The Ballad Of Davey Graham’ is a title to stop any music-lover in his tracks. TOM BAXTER wrote it for the unveiling of a blue plaque in honour of the guitarist. It takes a gifted, and perhaps brave, man to attempt to emulate Graham’s unique guitar style and unconventional song structures and Tom rises to the challenge with considerable aplomb. The track will be found on his forthcoming album, The Other Side Of Blue.
https://www.tombaxter.com/

LOZT are a duo comprising Tom Ryder, of whom we have written before, and Lauren Scudder who is new to us. I Want You is their debut EP; a sophisticated mix of folk, pop and soulful singer-songwriter. The title track, which is third up, is decorated with treated instruments but it is dominated by acoustic guitar. The opener is ‘Change My Mind’ followed by ‘Quake’ which benefits from a remix to close the set.
https://www.loztmusic.com/

Six is the new EP from LEATHER’O, a follow-up to Five, obviously. They describe their music as alt-Celtic/Gypsy and pride themselves on their energy but someone should have pressed the loud pedal in the studio or on the mixing desk. The balance is great and Angela Gordon’s vocals don’t get lost on ‘False Lady’ or ‘Black Is The Colour’.   ‘Risipit/Bim Bim Hora’ is all gypsy fiddle and is absolutely splendid proving how well Leather’o can play as does the closing ‘Weasel Set’ but, please, turn it up a bit next time.
www.yorkcelticband.co.uk

SIMEON is a young acoustic singer-songwriter with a voice that can be soft and gentle or bend steel as the occasion demands. ‘Ground Down’ is the first single taken from her forthcoming EP A Serpentines Curve. Although she’s been working and recording for a while her profile isn’t what you’d call high. We don’t think it will stay that way for long.
http://simeonturtle.com

The 2018 Folking Awards

Welcome to the 2018 Folking Awards and thank you again to everyone who participated last year. The nominations, in eight categories, come from our ever-expanding team of writers and were wrangled into shape with considered argument and arm-wrestling by the Folkmeister and the Editor.

There are five nominees in each category, all of whom have impressed our writers during 2017.

As with the format last year, all are winners in our eyes, as are quite a few who didn’t make the short list. However, it’s not just down to what we think, so again, there will be a public vote to decide the overall winner of each category.

*The Public Vote for each category will close at 9.00pm on Sunday 1st April (GMT+1).


Soloist Of The Year

 Jon Boden
Ange Hardy
Daria Kulesh
Richard Thompson
Chris Wood


Public Vote

*And the winner is: Open envelope!

 


Best Duo

Kate & Raphael
O’Hooley & Tidow
Kathryn Roberts & Sean Lakeman
Laura Smyth & Ted Kemp
Winter Wilson


Public Vote

*And the winner is: Open envelope!

 


Best Band

Sam Kelly & The Lost Boys
Merry Hell
Peter Knight’s Gigspanner
Police Dog Hogan
The Unthanks


Public Vote

*And the winner is: Open envelope!

 


Best Live Act

CC Smugglers
Eliza Carthy & The Wayward Band
Fairport Convention
Lau
Merry Hell


Public Vote

*And the winner is: Open envelope!

 


Best Album

Bring Back Home – Ange Hardy
Pretty Peggy – Sam Kelly & The Lost Boys
Long Lost Home – Daria Kulesh
A Pocket Of Wind Resistance – Karine Polwart/Pippa Murphy
Strangers – The Young ‘Uns


Public Vote

*And the winner is: Open envelope!

 


Best Musician

Kevin Crawford
Seth Lakeman
Richard Thompson
Karen Tweed
Ryan Young


Public Vote

*And the winner is: Open envelope!

 


Rising Star

Sam Brothers
Siobhan Miller
Jack Rutter
Sound Of The Sirens
The Trials Of Cato


Public Vote

*And the winner is: Open envelope!!

 


Best International Artist

Rodney Crowell
Anna Coogan
Michael McDermott
Le Vent Du Nord
The Wailin’ Jennys


Public Vote

*And the winner is: Open envelope!

 


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Folkies 2018

THE DARIA KULESH QUARTET talk to Folking

Daria Kulesh Quartet
Photograph by Jason Emberton

For their many fans there is sadness at the news that the latest iteration of Kara has disbanded. With the plan not quite coming together, both Phil Underwood and Pete Morton have had to take their leave to continue with other projects with founding members Daria Kulesh and Kate Rouse enthusiastic to focus on new music. Daria goes back to the beginning of the story.

“I started my musical journey as part of Kara and then, on a whim, decided to release my solo album, Eternal Child, and thought it would just be a little vanity project. Then Long Lost Home was an epic project for me and I really poured all my heart and soul into it and hopefully it’s paid off. The last year has been really incredible on the back of that release and all my adventures and journeys that went with it. Effectively Daria Kulesh has become a thing – I don’t even really know who she is any more – and that has taken over from Kara.

“It was following Kara’s gig at The Troubadour that Pete said it really should be about my leading the band. I was quite excited about working with Pete and sharing the spotlight but what he felt was that I needed to be a mean diva with a mean band backing me.” Pete always had a neat turn of phrase.

The first recruit to the new line-up was pianist Marina Osman. “We’ve known each other for a long time. We were doing some covers…” At this point Daria interrupts to explain that the episode in question was too embarrassing to talk about and then proceeded to explain that they were doing Lady Gaga covers. Marina finally gets a word in again. “It was a great experience but Daria had some much creativeness in her that she could not do just simple covers…and she decided to be a diva.”

Marina starts to explain that they have been working together as a duo on “the Russian project” and Daria leaps in again. “There is just so much serendipity in all of this. Marina and I were, not exactly out of touch, but we hadn’t done anything together for quite a while.” And now it gets complicated – let’s see if I’ve got it. Daria’s song ‘The Moon And The Pilot’ went viral after her appearance on the BBC World Service and her name was out there in Russia and Ingushetia. The presenter also suggested her for an event at Pushkin House, the Russian Cultural Centre, performing music that is virtually unknown in the UK.

“Marina and I learned thirty minutes of material for this event and the director of Pushkin House immediately rebooked us for a full set so we started work on a set of Russian film songs and some Russian folk classics. We kept getting repeat bookings and started mixing it up with some original material and then Marina had a little jam with Kara at The Troubadour. That was when Pete told me she was gold dust and to get her in my band.”

The fourth member of the new band is guitarist Tristan Seume who also works with Jackie Oates and admits to combining classical guitar lessons with busking Levellers’ songs in an underpass. I get the impression that Tristan knows pretty much everybody but how did he end up here?

“I got an email from Kate just over a year ago, asking me if I’d like to try out for a band. I was flattered to get an invitation but at the time I was so committed elsewhere that I left it in my unread folder because I wanted to write a nice, polite, thoughtful response but it just slipped further down my to-do list. Fast forward a year and a change of circumstances and I was going through unread emails and decided to respond to it. Because I was in a silly mood I thought I’d write something just to say ‘for what it’s worth I’ve got some time on my hands’. Within an hour I got a response from Kate.”

Prior to the formal interview, I’d watched the band at work, developing a new arrangement of Daria’s single ‘Vasilisa’ and working on a new song, ‘Pride Of Petravore’, a Percy French piece that had been suggested by Pete. Daria knew the song; Kate knew it in a different key, because Kara had performed it as an instrumental, but neither Tristan nor Marina knew it at all. Within about thirty minutes they had it ready to take into the studio to record a demo. That is the measure of the new band. The interesting thing is that Kate seems to be the one with the ability to sift through all the ideas and pull together the best ones.

“It’s my background”, she says modestly. “I’ve always been arranging my own parts and perhaps hearing things in a slightly different way. I’m the one more familiar with the Kara material but we’ve all learned lessons and become more aware about refining the music in a certain way. Someone needs to say ‘I think it should be this’ and not be shy about it. Plus the dulcimer is a big part of the band and I’m a bit protective about it.

The name of the new line-up was, for a while, a matter for debate. It might have been The Daria Kulesh Band or Daria Kulesh And Friends. I made several suggestions that were, quite rightly, rejected but they have now settled on The Daria Kulesh Quartet. Daria and Marina have recorded some new tracks which may figure on a Vasilisa EP and the new band has spent time in the studio preparing for their first gigs in the new year. It’s all very exciting and I’m looking forward to the finished product.

Dai Jeffries

Artists’ website: http://www.daria-kulesh.co.uk/

‘Pride Of Petravore’: