LinesLines is a trilogy of song cycles inspired by poetry, focusing on three female perspectives across time: Hull fishing worker Lillian Bilocca; World War One poets; and writer Emily Brontë. Lines is available on general release from February 22nd .

After discovering Brian Lavery’s book, The Headscarf Revolutionaries, the actor and writer Maxine Peake created the play The Last Testament of Lillian Bilocca as part of Hull’s hugely successful City of Culture events. Bilocca was the woman who changed policy and regulations following the loss of three trawlers in close succession in early 1968. She led women from the Hessle Road area of Hull (where many of the trawlermen came from) in protest against the lack of safety in the trawling industry. The protests led to a meeting with the government in London and then to eighty-eight safety measures being enacted.

The play had an original live score by The Unthanks and this album has five tracks. The music is predominantly written by Adrian McNally. A couple of the songs have lyrics by Peake – but the album also includes Bolling and Fishman’s ‘Lonesome Cowboy’ (which is a surprise until you relate the lyrics to the long journeys of the trawlermen). I didn’t get back to Hull to see the play, but based on this album, I regret it even more than I did at the time – the music is magnificently atmospheric, with rich but hushed tone set by McNally’s piano and supported by equally soft vocal and playing from the rest of the band.

It isn’t possible to understand Hull, particularly West Hull, without understanding its trawling history. Peake’s play with its focus on the events of 1968 has helped unite this fishing tradition into the modern city of culture. To give an idea of the significance of the women’s protests, Brian Lavery quotes one of Bilocca’s colleagues on her return to Hull from London as saying that the women of Hessle Road “did more in six days than Trade Unions and politicians had done in a century”. The definitions of folk music are many and varied but one of them is “the people’s music”. The Unthanks album will help preserve the story of Lillian Bilocca and the Headscarf Revolutionaries. It will also widen the audience that knows the story.

Mike Wistow

The second part of Lines comprises six songs concerning the Great War and, of course, there is a back story. The songs were originally written for a project marking the beginning of the war and have now been recorded to mark its end. Such projects tend to be collaborative affairs and so the first voice we hear isn’t an Unthank but Sam Lee who sings the first part the long opener ‘Roland And Vera’. Roland was Roland Leighton who was shot and killed two days before Christmas 1915 and Vera was his fiancée Vera Brittain. The song is based on her memoir and there’s lots about her to look up.

‘Everyone Sang’ is the first set of words by a contemporary poet, in this case Siegfried Sassoon with music by Tim Dalling who also sings on this recording. Sassoon was also responsible for the harrowing ‘Suicide In The Trenches’. Adrian McNally takes over as composer from this point beginning with ‘War Film’ by Teresa Hooley, although the poem was probably written in the 1920s. We don’t often think of women as war poets but Jessie Pope, who wrote the final piece ‘Socks’ is one such. Wilfred Owen dedicated Dulce Et Decorum Est to her which shows the regard in which she was held at the time.

The short poem ‘Breakfast’ was written by Wilfrid Wilson Gibson, the leading Georgian poet. It’s typical of the way wrote about the minutiae of life and The Unthanks expand it including lines from ‘Hanging On The Old Barbed Wire’ which are perfectly in keeping. The music is, perhaps inevitably, dominated by McNally’s piano with extra strings brought in to bolster Niopha Keegan’s fiddle and Chris Price’s bass and guitar

Dai Jeffries

As the concluding part of The Unthanks’ Lines trilogy, part three is based on the poetic works of Emily Brontë. Commissioned by the Brontë Society to commemorate the bicentenary of Wuthering Heights, this set of scored poems also forms an audio trail around the Haworth Parsonage (until 31 March 2019; free, but equipment booking required).

Unlike the epic adventurousness of some of their more recent work, this album has a direct simplicity, featuring only Rachel and Becky Unthank’s voices accompanied by Adrian McNally’s piano. McNally composed and performed on the parsonage’s 5-octave cabinet piano, which no doubt informed the hypnotic minimalism of the resulting music. Ambient sounds derive from on-site recording sessions, which took place after museum hours.

As we enter ‘The Parsonage’ the crows take raucous flight from the churchyard next door. Opening the door, only footsteps and the chiming and ticking of clocks disturb the stifling stillness. Nature, time, death. A triumvirate of forces scouring across Emily Brontë’s life and work.

Brontë’s nature is not manicured or cultivated, but an untamed, raw beauty. As the little piano riffles of ‘High Waving Heather’ sketch in the endless moor-top breeze (just as likely to be a bitterly whipping wind!), Becky and Rachel sing alternate lines, before they run together in a harmonic stream.

Connecting with nature is therapeutic. ‘Shall Earth No More Inspire Thee’ makes a plaintive and heartfelt cry for its subject to re-embrace nature to gain relief from inner torment. Yet ‘Lines’ conveys the sadness of finding that nature cannot soothe those who do not allow it in.

‘Remembrance’ has been set to an arrangement of a traditional tune, which pairs very well with this heavily Romantic lament. But it’s the deceptively simple and placatory dissembling of ‘She Dried Her Tears And They Did Smile’, set to a slow waltz, that really gets under the skin.

Some of the songs comprise several poems in well-considered conjunctions, such as ‘Deep Deep Down In The Silent Grave’ partnered with the equally solemn ‘Oh Hinder Me By No Delay’. But it’s ‘The Night Is Darkening Around Me’ where the dread and defiance of “I will not, cannot go” is perfectly counterpointed by the tender ‘I’ll Come When Thou Art Saddest’. Bridging back to the first poem via a short poem fragment, ‘I Would Have Touched The Heavenly Key’, this is a delightfully constructed track.

The refrain of crows, clocks and footsteps opening ‘O Evening Why’ suggests this as a logical end to the album, but perhaps it’s just too downbeat, as Becky sings the first poem in a dirgey minor before Rachel joins with the equally tonally bleak ‘It’s Over Now; I’ve Known It All’. Instead, the brighter ‘I’m Happiest When Most Away’ escorts the listener back to the moors and leaves them contemplating the shifting night skies at the top of the world.

Su O’Brien

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Recording the Brontë song cycle:

THE UNTHANKS – Mount The Air (Rabble Rouser Music RRM013)

the-unthanks-Mount-The-AirNot exactly the sort of album to put to get the party going, the first new studio release by the quintet in four years carries with it the chill of a crisp winter’s day, hoar frost on the leaves and rime glittering on the ground, your breath curling like smoke wisps. It is, quite simply, a masterpiece.

Always pushing the boundaries, they boldly open with the glacial ten and a half minute title track, composed by pianist-producer Adrian McNally and co-written by Becky Unthank, based on a one-verse Dorset ditty, that marries folk with brass tempered jazz, featuring improv trumpeter Tom Arthurs to conjure echoes of Miles Davis and Gil Evans circa Sketches of Spain.

The musical mood is sustained on the more traditional-hued, piano-backed, Rachel’s huskily sung ‘Madam’ and the more strings-enrobed ‘Died For Love’, only a heartbeat of silence between stopping them from flowing as one, from courtship to tragedy. While the ambience remains, things stretch out a little more on ‘Flutter’ as a, well, fluttering of trip hop beats run across the lush strings before ‘Magpie’, Becky, Rachel and Niopha Keegan singing in harmony (virtually unaccompanied save for the minimalist drone backdrop), brings a medieval air to their adaptation of the dark nursery rhyme ‘One For Sorrow’ with its “Devil, Devil I defy thee” refrain.

Catching you off-guard, a sweeping cascade of piano and string introduces the mournful eleven-minute ‘Foundling’, sounding like some 1930s cinema score, trumpet and percussive cymbals adding to the pulsing textures of a number based on the 18th century story of Thomas Coran’s Foundling Hospital and sung, rather like an extract from a folk opera, in the persona of a young, luckless mother talking about having to abandon her daughter. This, in turn, inspired Rachel to make her songwriting debut, devising new verses for the evergreen ‘Golden Slumbers’ for what would become ‘Last Lullaby’, the lilting melody carried, primarily, by McNally’s tinkling piano and Keegan’s fiddle.

After its incipient warmth, the wintry atmosphere returns for the melancholic ‘Hawthorn’ (“why is my heart as light as lead?”) with the sibling harmonies against plaintive piano and forlorn trumpet, giving way to the first of the album’s two instrumentals, ‘For Dad’, a lament written by and spotlighting Keegan as a tribute to her late father and poignantly featuring his voice and her child-self at the start. The second, and album closer, the skittish, melody-circling ‘Waiting’, written by guitarist/bassist Chris Price, conjuring Penguin Café thoughts and featuring drummer Martin Douglas on tabla and McNally on a battered chord organ. Sandwiched between is the slow waltzing ‘Poor Stranger’, the album’s most straightforward and most obviously accessible number with 19th century musical hall hints to its warning about false-hearted lovers.

Recorded in their own makeshift Northumberland studio, and redolent with the sisters’ Northern accents, it’s had a long, and possibly difficult, gestation, but not only has the wait has been well worth it, in their inventive and inspired fusions and experiments around the folk genre, it offers a tantalising prospect of the horizons they may yet explore.

Mike Davies

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‘Mount The Air’ – single version: