Alt-folk songwriter and fingerstyle guitarist, Chris Cleverley announces the release of 2nd studio solo album, entitled ‘We Sat Back And Watched It Unfold’.
Produced by BBC Folk Award Winner Sam Kelly at Cornwall’s infamous Cube Recording, the album is due for release on Friday 11th October 2019, to contribute to activity surrounding World Mental Health Day.
This collection of twelve original songs intends to explore a pervasive sense of anxiety afflicting our modern age. Diverse lyrical themes from deteriorating anxious minds, through to literary heroines, combine curiously with Cleverley’s characteristic, intricate guitar fingerstyle, to offer a challenging, but uplifting piece of art.
The new release promises a bold departure from debut Apparitions (The Telegraph ‘Top 70 Folk Albums, 2015’) with progressive song structures seeking to fuse elements of Folk, Americana, Pop, Rock, Metal and Contemporary Acoustic music. With full band arrangements, featuring 10 shining lights of the UK folk scene, the album’s soaring pop melodies and thundering rhythms reflect an approach to songwriting inspired by the American greats Elliott Smith, Jeff Buckley and Paul Simon.
Cleverley is set to promote the album’s songs on a thirteen date UK release tour throughout Autumn 2019, including solo acoustic performances and as part of the Chris Cleverley Trio (featuring Kim Lowings and Kathy Pilkinton). A launch gig will take place featuring a full band in Cleverley’s hometown Birmingham.
Those intrigued by the album’s themes and musical content can support Chris Cleverley achieve a robust and wide-reaching release campaign. Head over to the official Indiegogo Crowdfunding page at https:/igg.me/at/chrisclev to explore a series of Limited Edition gifts and experiences on offer to pledgers.
September 2018 sees the launch of a new live outfit from Contemporary Folk songwriter and fingerstyle guitar extraordinaire Chris Cleverley.
With an all-star line-up, Chris is joined by renowned folk singer/songwriter Kim Lowings and multi-instrumentalist Kathy Pilkinton of vocal harmony trio Said The Maiden.
Developing the solo live sound for which Chris has become well known across the UK, the trio presents fresh and vibrant arrangements of popular original and traditional material as well as exploring new, uncharted territory to stretch the boundaries of what we define as folk music.
Chris says of the new project:
“There were two main purposes for assembling this line-up. Firstly, I wanted to reinterpret material from my own back catalogue which I had naturally become disconnected from after years of performance. The dynamism that these two sensational musicians brought to the arrangements made it like performing a whole bunch of brand new songs. Secondly, through gearing up for the recording of my next record, I wanted to introduce hints of the denser, more layered sound that we’ll be creating.”
With a focus on intricate three-part vocal harmonies and detailed, unorthodox instrumentation these three musicians draw on a long history of collaborating to present a richly layered and tightly cohesive live sound. Audiences can expect effects-laden acoustic and electric guitars, ebow, banjos, clarinet, shruti box and keyboard, all underpinning the centrepiece of the trio’s vocal arrangements.
The trio’s inaugural showcase performance offers a rare opportunity to catch this live act in 2018.
This event is bookended by Chris’ Autumn Solo Headline Tour dates, including performances at Orpington, Rothbury, Newcastle, Carlisle, Aylesbury, Oswaldtwistle, Frodsham and Romford.
All the above dates will unveil glimpses of new material taken from Chris’ second studio album, which commences production in November 2018 under the guidance of award winning producers Sam Kelly and Graham Coe. Covering broad and challenging imagery of deteriorating anxious minds, damaging gender constructs, literary heroines and struggling public services Chris’ new material reflects a keen intellect and strong social conscience.
The Company of Players is an assemblage of young musicians brought together at the behest of Jess Distill of Said The Maiden, in order to celebrate the 400th anniversary of Shakespeare’s death in 2016 by putting together some songs related to his life and work. And one of the fruits of that collaboration is the CD Shakespeare Songs. Participants are Jess Distill (vocals, flute, Shruti box – a drone instrument somewhat like a harmonium), Hannah Elizabeth (vocals, violin), Kathy Pilkinton (vocals, clarinet, spoons, mandolin), Sam Kelly (vocals, acoustic guitar, mandolin, percussion), Kelly Oliver (vocals, acoustic guitar, harmonica), Lukas Drinkwater (vocals, electric guitar, double bass), Chris Cleverley (vocals, acoustic guitar, banjo), Kim Lowings (vocals, dulcimer, piano), Minnie Birch (vocals, acoustic guitar) and Daria Kulesh (vocals).
And a very interesting set it is, too. Knowing nothing of the project, I was, I suppose, expecting performances of songs that actually feature in Shakespeare plays (‘The Willow Song’, for example) or settings of his words, possibly accompanied by instruments from the period – which would have been fine by me! – but there are no lutes or viols here, and the range of material is both wider and in many cases more modern than I expected.
‘Black Spirits’, by Kathy Pilkinton, takes its title and lyrical content from Macbeth: specifically, Act I Scene I, and Act IV Scene I, taken verbatim from speeches by the Three Witches. It starts with minor-key, dirge-like close harmonies from Said The Maiden over an instrumental drone, then picks up the pace with percussion from Sam Kelly, while the harmonies of Jess, Hannah and Kathy are augmented by the voices of Sam, Chris, Kelly and Minnie.
Minnie Birch’s ‘Up And Down’ borrows ideas and imagery from Midsummer’s Night Dream, and even the chorus is based (though not verbatim) on the words of Puck:
‘Up and down, up and down,
I will lead them up and down.’
The sound, however, is very ‘modern folk’. In fact, it reminded me a little of Megan Henwood, which is certainly not a complaint. A very pretty tune.
‘Gather Round’, by Kim Lowings, draws on ideas and imagery from The Tempest. However, the expression is unashamedly modern, and would not sound out of place on Radio 2. (Hey, that’s not a criticism: I often listen to Radio 2!)
While the title of Chris Cleverley’s ‘But Thinking Makes It So’ comes from Hamlet, Prince of Denmark – “for there is nothing either good or bad, but thinking makes it so” the song seems to be a more general musing on the human condition and psychological frailty, no doubt influenced by the well-known soliloquy. Very attractive.
In contrast, ‘Method In The Madness’, by Jess Distill and Kim Lowings, is clearly based on Hamlet (perhaps somewhat influenced by the Icelandic Amlóði or the Amleth of Saxo Grammaticus, somewhat less conflicted precursors of Shakespeare’s Prince of Denmark). It’s curious that such a dark, corpse-strewn play should attract such light music. While this doesn’t have the levity of Adam McNaughtan’s ‘Oor Hamlet’ (chanted or sung to ‘The Mason’s Apron’), its sprightly tune, married to instrumentation that would not be out of place at a bluegrass festival, could certainly be described as toe-tapping. In fact, the tune would fit nicely into that group of American songs including ‘The Roving Gambler’, ‘Poor Ellen Smith’, and ‘Going Across The Mountain’. I’m almost tempted to describe it as fun.
‘Song Of The Philomel’ is a gentle song by Kim Lowings: the slightly archaic expression in the lyrics recalls Titania’s lullaby in A Midsummer Night’s Dream. (Philomel is both an old name for the nightingale and a 19th-century instrument somewhat related to the violin, though Hannah’s fiddle here doesn’t have the philomel’s shrill tone.) I particularly like this track.
‘Interval’ is a brief instrumental track, not listed in the sleeve notes or lyric booklet, but its mournful, slightly dissonant tone serves very appropriately as an introduction to the next track, ‘Lady Macbeth Of Mtensk’. Amusingly, the press release ascribes its inclusion to Midsummer’s Eve mischief-making by the Fairy Queen and her followers. However, there’s nothing light-hearted about either track.
Daria Kulesh’s ‘Lady Macbeth Of Mtensk’ draws its story, as the title suggests, from the novella Lady Macbeth Of The Mtsensk District by Nikolai Leskov (and the source of an opera by Shostakovich), rather than directly from Shakespeare. Darla’s dramatic delivery of a melody fittingly reminiscent of Russian folk music is almost operatic in its intensity.
By the way, the Russian word прощай, which appears several times in the lyric, generally means something like ‘farewell’ or ‘goodbye forever’, but can also mean something like ‘forgive’, which perhaps echoes the more sympathetic portrayal of Katerina in Shostakovich’s opera. Just a thought.
‘You Needs Must Be Strangers’ takes verses from Sir Thomas More. The authorship of this play is, to say the least, complicated. But it is generally accepted that 147 lines added to the play in 1603 were contributed by Shakespeare in his own handwriting. Its meditation on the plight of the exile has an all-too-apposite resonance in the 21st century, reminding me a little of Martin Thomas’s ‘The Exile’.
‘It Was A Lover And His Lass’, by Hannah Elizabeth, sets the song from As You Like It described by Touchstone as “untuneable”, though Hannah’s setting (like Thomas Morley’s long before it) disproves that description. A great tune, though the extended playout is a little overlong for my taste.
The lyric to ‘Jessica’s Sonnet’ is actually not quite a sonnet, but then it isn’t by Shakespeare either, being credited to Kelly Davis, Kim Lowings and Sam Kelly. It does, however, represent the thoughts of Jessica, the daughter of The Merchant Of Venice, just before she elopes with Lorenzo. The vocals are credited to Sam and Chris, but there’s a strong female vocal there, too, plus other harmonies that seem to be from the whole Company.
This certainly isn’t the sort of music I was expecting, but I certainly can’t say I was in the least disappointed by what I heard. Good solo and harmony vocals, excellent instrumental work where technique serves the interests of the songs but never overshadow them, and some very attractive tunes. If you’re among the many people who were completely put off The Bard by unimaginative English lessons, don’t let that put you off this take on his life and work. And if you love Shakespeare but are open to alternative ‘takes’ like West Side Story you may well like this.
Following on from last years EP, ‘Of Maids And Mariners’, Hertfordshire folk trio Jess Distill, Hannah Elizabeth and Kathy Pilkinton return with their much anticipated second album, Here’s A Health, another fine collection of traditional, self-penned and cover material that again spotlights their immaculate harmonies.
Variously playing violin, piano accordion, mandolin, flute, clarinet, whistles, electric bass and Appalachian mountain dulcimer, they’re also joined on a couple of tracks by Lukas Drinkwater and Chris Cleverley.
Following the brief a capella ‘Preamble’, an invitation to “come lift up your voices”, things get under way proper with the traditional ‘The Bird’s Courting Song’, a three-part seventeenth-century children’s nursery rhyme from the Appalachians that features Jess on flute and comes with a “towdy, owdy, di-do dum” chorus. Hannah provides the violin-driven tune for the waltzing ‘The Maid Of The Mill’, a traditional eighteenth-century ballad, supposedly about Mary Leonard, a Hertfordshire lass who spurned any number of admirers before finally marrying, the words penned by the local curate, one of the unsuccessful suitors, with Drinkwater on double bass.
The traditional seam continues to be mined with their arrangement of ‘Sweet William’s Ghost’, Jess providing the tune for this cut up lyric tale of a woman being visited by her lover’s ghost and being invited to share his grave, the vocals given a simple dulcimer backing.
Another nod to the trio’s playful nature, next up is an unaccompanied cover of Tom Paxton’s quirky children’s song, ‘Jennifer’s Rabbit’, then, again featuring Drinkwater, it’s back to the traditional meadow with another three-part harmony showcase in ‘The Bonnie Earl O’Moray’, a traditional Scottish ballad about the murder of James Stewart, the titular earl, by his arch rival, the Earl of Huntly, in 1592, supposedly because the former was accused of plotting against King James VI. Interestingly, the line about him being laid upon the green gave rise to the term Mondegreen, meaning a misheard song lyric that changes the meaning, on account of the American writer Sylvia Wright hearing it as ‘Lady Mondgreen’ and assuming it to be his lover.
The first of the original material comes with ‘Polly Can You Swim?’, co penned by Distill and Pilkington and featuring Andrew Simmons Elliott as the sailors chorus, a sprightly sea shanty rather at odds with its words about accounts of women being thrown overboard for fear of them placing curses on ships. Of course, testing by sink or swim was also applied to witches and, sure enough, it’s followed by Distill’s particularly grisly ‘Black Annis’ based on the Leicestershire legend of a child-eating witch told by parents to keep their kids in after dark, Jess taking lead against the harmonies and accompanied by a vocal drone.
Keeping things dark, piano accordion introduces the traditional American murder ballad, its drone complemented by dulcimer in an otherwise a capella reading of ‘In The Pines’ inspired by recordings by both Lead Belly and Nirvana before Hannah’s spare mandolin makes its appearance in the final stretch.
Spirits are suitably raised with a return to native soil and an unaccompanied version of the erotic euphemistic Norfolk reel ‘The Bird In The Bush’, otherwise known as ‘Three Maids A-Milking’, ahem, from whence comes the album title. Pilkington’s contribution to proceedings is ‘Take The Night’, a sprightly strummed acoustic and violin-coloured tale based on the legend of a Hertfordshire highwaywoman, Cleverley joining them on banjo, the album then closing with a fine unaccompanied take on Richard Farina’s ‘Quiet Joys Of Brotherhood’, learned at the request of the late Dave Swarbrick when they supported him in 2015.
Maybe it’s just the time of the year, but there’s a crispness and ambience to the album that conjures bracing winter mornings and nights around the fire, but really, this is an album for all seasons.
Said The Maiden are Jess Distill, Hannah Elizabeth and Kathy Pilkinton, three friends who discovered a mutual love of folk music when they reunited several years after spending their school years together in St. Albans, Hertfordshire. The group sing traditional songs from around the UK and America, often in three part acapella harmony but also using guitar, violin, mandolin, woodwind, accordion and percussion to embellish their sound.
From tentatively performing a few songs at their local Redbourn Folk club in 2012 and later being asked to appear at one of the club’s guest nights, the group soon secured support and headline slots at folk clubs and festivals around the country, including Folk By The Oak, Folkeast, Gate to Southwell, Shepley and Bunkfest. These opportunities have in turn led to invitations to support many fantastic artists including The Fisherman’s Friends, Jim Moray, Megson, Martin Carthy, Sam Carter, Hannah James and Sam Sweeney, Treacherous Orchestra and Clannad. They were also honoured to join legendary fiddler Dave Swarbrick on a successful UK solo tour in the spring of 2014, and released their debut album A Curious Tale in June of the same year.
In May 2015 Said The Maiden was awarded Bristol Folk Festival’s prestigious Isambard Folk Award, and as a result opened for folk super-group The Full English at the 2015 Bristol Folk Festival. Most recently the group was voted for by festival-goers at the Great British Folk Festival 2015 as ‘best act’ on the Introducing Stage on the opening night, and will be performed on one of the festival’s main stages in December 2016.