SKIPINNISH – Steer By The Stars (Skipinnish Records SKIPCD28)

Steer By The StarsSkipinnish have had a spectacular couple of years since the release of The Seventh Wave and now, as they celebrate their twentieth anniversary, they find themselves at the top of the tree in contemporary/ traditional Scottish music. Now an octet with Angus Tikka being replaced by Charlotte Printer on bass and fiddler Archie McAllister they press on with a new album, Steer By The Stars, to mark their birthday. Angus MacPhail is still at the helm as principal songwriter with Norrie MacIver on lead vocals and the twin highland bagpipes of Andrew Stevenson and Alasdair Murray. They point out that the band’s youngest member, drummer Rory Grindlay, wasn’t born when the band first got together.

The sea is never far from Skipnnish’s thoughts, either literally or metaphorically and Steer By The Stars is no exception. The anchors of the opening track, ‘Anchors Of The Soul’ are of the latter variety as the song looks to a bright future for the Gaels. The title track combines both – the singer is clearly at sea but is also thinking about the person waiting at the end of his journey. From now on we’re definitely in maritime mood. The first song in Gaelic, ‘Coire Bhreacain’, is written in shanty form and although my Gaelic doesn’t amount to much, I do know that Coire Bhreacain is the Gulf of Corryvreckan, a narrow stretch of water off the northern tip of Jura.

Next is ‘Last Of The Hunters’, one of the big anthemic songs that Skipinnish do so well. It’s a hymn of praise for deep-sea fishermen but Angus isn’t parochial and the name-checks circle the entire British coast. This is a song they’ll be playing until the seas run try. In ‘Land Below The Waves’, Angus writes of the Western Isles and his desire to be out at sea again. It’s back to Gaelic for ‘Thar Sàil (Over The Sea)’, another big song but unless I missed the point, it’s about the ferries that ply the Minch. Although they aren’t named it has to be a nod to CalMac!

‘The Atholl Set’ is the second instrumental track – one for the festival dancers – and we’re just about back on land for ‘Wishing Well’, arranged and produced by Malcolm Jones. It’s what a colleague of ours would call a “swayalong” but I’m greedy enough to want to hear more of Malcolm’s guitar. Phil Cunningham composed ‘The Youngest Ancient Mariner’, a gentle interlude for about a third of its length until the pipes take hold of it. There is a traditional ‘Puirt Set’ next and then ‘Still We Run’ harks back to the thoughts of the opening track. ‘Goodbye’ isn’t completely self-explanatory from the title and finally the band return for a set of jigs.

It only struck me at the end that, in Steer By The Stars, Skipinnish have programmed a live set and then recorded it – with all the ebb and flow you want from a concert. There are several guests, including pupils from two schools on the first track but I should mention Jarlath Henderson, Gordon Gunn and former Runrig keyboard player, Brian Hurren. The guests blend seamlessly and like all good visitors, don’t outstay their welcome. You’ll hear a few bars of whistle or mandolin but only if you don’t let the music sweep you away.

Dai Jeffries

Please support us and order via our UK or US Storefront 


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link for the UK Store is: https://folking.com/folking-store/


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link to the US Storehttps://folking.com/folking-us-storefront/


Artists’ website: www.skipinnish.com

‘Wishing Well’ – official video:

WEST OF EDEN – Flat Earth Society (West of Music WOMCD12)

Flat Earth SocietyIt’s a touch ironic that one of the best bands currently energising traditional British and Celtic folk music with a contemporary lens happens to come from Sweden. Comprising Lars Broman on fiddle, Martin Holmlund on bass, drummer Ola Karlevo, Henning Sernhede on lap steel and electric guitar and fronted by Jenny and Martin Schaub, the former on accordion and the latter playing assorted guitars, piano, cittern and mandolin, they’ve been playing music since 2005 and this is their eighth album (two of them being Celtic Christmas collections), recorded predominantly in Scotland (in anything from churches to distilleries) and featuring contributions from such folk luminaries as Damien O’Kane, John McCusker and Heidi Talbot.

Unlike some of their past albums, this doesn’t have a conceptual basis, other than generally being about partings and new beginnings, opening with the moody, rumbling percussion, acoustic title track, Jarlath Henderson on low whistle and Jenny, her airily pure vocals at times evocative of Anne Briggs, taking lead on a song about a broken romance in which the narrator’s world has been left flat.

Kicking up their folk rock heels, as the title suggests ‘The Dwindling Of The Day’ concerns the passing of time, Jenny singing about holding on to memories of someone who’s no longer around, slowing down slightly for ‘Horsehoofs & Primroses’, O’Kane on tenor guitar, a traditional-flavoured number of the urge to go a roaming when Spring is in the air.

Henderson contributing harmonies, set to puttering percussion, ‘Pretty Please’ is a liltingly lovely song about being weary of domestic squabbles and “rocking our boat on the wildest of seas”, giving way to ‘Kate, Are You Ready Now?’ as, Henderson on Uillean pipes and Karlevo laying down a slow march beat, Martin makes his first lead vocal appearance on a stirring strummed ballad that puts a spin on the jilted at the alter tale, this time it being the bride who doesn’t turn up while the groom tries to convince himself she’s just running late. Jenny returns for the jazzy ‘Porcelain Days’, hints of Pentangle colouring its lyric about navigating your way through a fragile relationship walking on eggshells and hoping the other partner will stick around as the ice starts to crack.

The first of two instrumentals, ‘Isak/Doris’ combines two fiddle tunes, Duncan Chisholm on the first with its military snare beat before McCusker takes over on the sprightlier second half. Then, it’s on to ‘Old Miss Partridge’, O’Kane on banjo and Jenny duetting with Talbot on a jaunty, accordion-led romp about an eccentric old bird suspected of being a witch and being found dead, blasted by lightning near a tree on the hill, her ghost still wandering at night.

It’s back to melancholia with McCusker providing low whistle for as Jenny sings the simply strummed, strings laden lament ‘Come Winter, He’ll Be Gone’, another song about loss and partings with the changing seasons serving to metaphorically chart the course of the relationship on the album’s most poetic lyric, evocative at times of Christina Rosetti.

Putting on his best Irish accent, the fiddle-accompanied, trotting rhythm ‘Vipers & Fireflies’ is Martin’s only other lead vocal, another song about how our worst nature sometimes gets the better of us and we say things in the heat of the moment we later regret, here using weather imagery as a metaphor.

The final song has Jenny accompanied by McCusker on tin whistle for ‘Peacock Blues’, its lively Irish jig-like tune belying a lyric that returns to a theme of arguments with the narrator being in the shadow of a more dominant personality (“I am the ceiling and you are the sky…you light up the room and I’m in the gloom”), the album ending on the other instrumental, ‘Rowbotham’s Map’, arranged for accordion and fiddle, bringing things full circle with the title referring to the Flat Earth Map of the World drawn up by the artist Samuel Rowbotham around 1873. Flat or round, global recognition for West of Eden among folk circles is long overdue.

Mike Davies

Please support us and order via our UK or US Storefront 


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link for the UK Store is: https://folking.com/folking-store/


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link to the US Storehttps://folking.com/folking-us-storefront/


Buying through Amazon helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artists’ website: www.westofeden.com

West Of Eden and friends live at Ben Nevis distillery:

MAEVE MACKINNON – Strì (Own Label, MM003)

Launched this weekend as part of Celtic Connections 2018, comes Maeve Mackinnon’s third studio album, Strì (meaning “strive”). After a couple of years of touring with Stepcrew and others, Mackinnon returns to home turf with an album of songs with a distinctly female perspective.

Inspired by Mackinnon’s love of waulking songs, this collection bears all the hallmark strong rhythms of work songs, like opener ‘Iomaraibh Eutrom’ (“Row Lightly”) with its hypnotic rowing pace. There’s also an evident relish in playing with assonance and alliteration in the language.

The lyrics (in translation) form a brutal poetry. Often these little hunks of plain-spoken, stark phrases hang together with a dark twist involving betrayal, or a loss of love or life. But it’s as repeated, sung phrases that they come alive with their own musicality.

Knowing Gaelic may help comprehension, but it’s certainly not essential to appreciating the vocal skill and dexterity in pieces like ‘Puirt-a-Beul’ (“Mouth Music”) – a “hidden” track that runs on from ‘Moch An-Diugh A Rinn Mi Eirigh’ (“Early Today I Rose”). Then there’s the not-quite-rapping, tongue-twisting ‘Bodachan a’Ghàrraidh’ (“Little Old Man In The Garden”) with its loose, funky guitar undercarriage. (And this song even fades out, like some contemporary radio playlister).

What the Scots generally do seem to have is a sound grasp of how to respect and refresh their traditions with judicious use of the studio toolbox, and Strì is no exception. So, occasional processed vocals, industrial metallic sounds, scratchy electronics and even an almost club-like rhythmic regularity on can be found here, all of which help to keep these songs feeling right up to date.

Producer/arranger Duncan Lyall successfully marshalls an array of top musicians including Jarlath Henderson, Ali Hutton, Martin O’Neill, Patsy Reid and Kathleen MacInnes, amongst others, whilst keeping a firm hold on the balance of instrumentation and sympathetically fleshing out Mackinnon’s warm tones.

Most of the songs here may be from the Gaelic tradition, but Mackinnon does include one of her own compositions. Following a crackly announcement in Spanish, it’s quite startling to hear English lyrics again. ‘We’re Not Staying’ is a complex tale of flight and persecution, nicely told with an emphasis on the disruption of migration and the wistful sense of temporariness.

In short, Maeve Mackinnon has made, in Strì, an album that is a real pleasure to listen to, relishing in all its rhythmic twists and turns. She has taken traditional forms and given them a contemporary edge, and the women’s stories that she sings are just as relevant as they ever have been.

Su O’Brien

Please support us and order via our UK or US Storefront 


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD
Physical link for the UK Store is: https://folking.com/folking-store/


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD
Physical link to the US Storehttps://folking.com/folking-us-storefront/


Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artist’s website: www.maevemackinnon.com

‘Iomaraibh Eutrom’:

Maeve Mackinnon – new album

Maeve Mackinnon

Contemporary Gaelic Singer Maeve Mackinnon releases her third studio album in February, 2018. Strì is a collection of songs in Gaelic and English, based on the themes of work, exile and struggle, from a woman’s perspective.

Strì means to strive or struggle in Gaelic. My original idea was to revisit the songs I love, particularly Gaelic Waulking songs. Waulking songs are work songs traditionally sung by women in the Highlands and Islands of Scotland. They were hardy, tough women and they sang of battles, tragedies, breakups and romance. I realised midway through recording that nearly all the songs are from a female perspective, and the messages within them are so current today on many levels”.

The album is produced by multiple award-winning producer and bassist Duncan Lyall (producer of Scots Trad Music Awards’ Album of the Year 2015 for Treacherous Orchestra’s Grind along with many others!).

Strì features guest contributions from musical luminaries such as Kathleen MacInnes, Martin O’Neill, Patsy Reid, Ali Hutton, Duncan Lyall, and Jarlath Henderson alongside longtime collaborators Ross Martin and Brian McAlpine.

“The stories, melodies and rhythms convey so much. Whether you speak Gaelic or not, I think people can hear the power of feeling in these songs”.

Strì is launched on Sunday 4 February at Glasgow Royal Concert Hall as part of  Celtic Connections 2018.

Artist’s website: https://www.maevemackinnon.com/

MARY ANN KENNEDY – An Dàn (Arc Music EUCD2737)

An Dàn Mary Ann Kennedy describes this album as Gaelic songs for a modern world. An Dàn means…well, dàn means song but it also means destiny, which may be Gaelic humour. Mary Ann is from Skye and is, of course a Campbell. She is well-known as a broadcaster and producer as well as singer and is an authority on Gaelic language and culture.

We are used to albums of Gaelic songs being firmly traditional but An Dàn is rather different. Mary Ann has written all the music and some of the lyrics, the rest coming from various poets and writers. Mary Ann’s family album, Fonn, recorded as The Campbells was all traditional but sounded remarkably modern. By contrast, An Dàn is modern but sounds, not traditional, but a little old-fashioned. The songs are underpinned by Mary Ann’s piano and features four string players and what is virtually a choir of backing singers which makes some of it a bit sweet for my taste.

The album is often very beautiful. Mary Ann’s voice is exquisite and Finlay Wells’ guitars add so much – just listen to that sublime lead on ‘Grioglachan’ – but it is the digressions that create the most interest. ‘Òran do dh’Iain Dòmhnallach’, for example, features old field recordings of Tswana singers. It all makes perfect sense in context but it also makes you pay attention. ‘Taigh An Uillt’ features some almost jazzy guitar with Nick Turner’s bass and an uncredited drummer and is, for me, the most beguiling track.

‘Dàn Ùr do Fhlòraidh NicNìll’ begins with a marvellous cacophony and Jarlath Henderson features here on Uilleann pipes but doesn’t get many opportunities to cut loose. For the Gaelic speaker this is undoubtedly a fascinating blend of old and new but for a Sassenach like me it won’t feature among my favourite Gaelic albums.

Dai Jeffries

Please support us and order via our UK or US Storefront 


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD
Physical link for the UK Store is: https://folking.com/folking-store/


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD
Physical link to the US Storehttps://folking.com/folking-us-storefront/


Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artist’s website: http://www.maryannkennedy.co.uk/

‘Mother Glasgow’ isn’t on the album but you can see why we have chosen it:

Mànran’s Gary Innes announces new solo album and single

Gary Innes

Highland born accordionist and one of the founding members of Scottish award-winning celtic  supergroup,  Mànran, Gary Innes, is about to release his much-anticipated second solo album entitled Era.

Gary released his first solo album How’s The Craic back in 2005 and has since released multiple collaborative albums with Ewan Robertson (of Breabach fame), all-accordion band Box Club and also has three albums with his current band Mànran. However, after 12 years of working on other projects, he is now back with a full album of self-composed tunes and even some self-penned songs, performed by some of the very best musicians and singers in the Scottish music scene.  Having been a professional musician for over 15 years, Innes is no stranger to the world of traditional music and as the newly appointed BBC Radio Scotland presenter for the iconic music show, Take The Floor, Innes is becoming further integrated into the Scottish music scene.

When asked about the album title, Innes said, “I have called the album Era as I feel it’s the end of a substantial chapter, or indeed era in my life. Due to my  increasing musical commitments, I retired from my beloved sport of shinty in 2014 and for the same reason finished up with the Scottish Fire and Rescue service after 15 and a half years, in 2015. Last year saw the beginning of the new era with the birth of my first little niece Zara and now my second niece is on the way. I am also getting married this year so it feels like life is very much starting to move me in a different, very significant, direction and I wanted to not only recognise this but also to celebrate it”.

Era has Hamish Napier on Keys, Duncan Lyall on bass, Jarlath Henderson on Uilleann Pipes, Steve Byrnes on kit and fellow Mànran bandmate, Ewen Henderson on fiddle. Innes co-produced the album with guitar and piping sensation, Ali Hutton who also performed on the album.

The album weaves in and out of melodies and titles that clearly resonate with Innes and his highland home village of Spean Bridge. Era includes three self-penned songs which all carry very different stories, sung by Robert Robertson, Alec Dalglish and Siobhan Miller.

The first single ‘The Caman Man’ will be available to download from January 27th, 2017 and it is a song all about Scotland’s most indigenous sport, Shinty and Innes’ journey from the start to the end of his sporting career which involved him captaining the national team on many occasions and his local club, Fort William to Camanachd Cup success.

Artist’s website: http://www.garyinnes.com/

Gary Innes interview – warning: Gaelic is involved: