This review was originally published by Get Ready To Rock here
Folk rock icon, fiddle supremo and former Steeleye Span-er, Peter Knight, along with the rest of his trio Gigspanner have been busy lately. This is their second new album of the year. First, in the summer came a live album from the expanded line-up of the band (known as the Gigspanner Big Band) and now this autumn the trio release ‘The Wife Of Urban Law’.
For those unfamiliar with Knight’s current outfit (Gigspanner actually began as a side project to Steeleye Span but is now his main focus after leaving his former band four years ago), they veer more towards the folk end rather than the folk-rock end of the spectrum. However, to merely describe them as folk ignores the huge range of musical influences that are at play on a Gigspanner album; from English folk to eastern European, French, Cajun, African and even aboriginal influences.
This latest album continues in that vein and is as expansive and inventive as ever. Knight’s virtuoso fiddle is, of course, an intrinsic part of the overall Gigspanner sound but so, too, is the suitably atmospheric acoustic-electric guitar of Roger Flack and the absolutely spellbinding percussion of new boy, Sacha Trochet, who took over from original conga player, Vincent Salzfaas, recently.
Material-wise, imaginative interpretations of traditional folk songs like ‘Green Gravel’ and ‘Bold Riley’ sit alongside self-penned numbers like the lively ‘Urban’s Reel’ which opens the album and ‘Lament for the Wife of Urban Law’ based on an inscription on a 19th century Oxfordshire gravestone which gives the album its title.
Hypnotic, infectious, inventive and utterly, utterly unique, Peter Knight’s Gigspanner continue to shine and this is yet another superb album from the trio.
Released 31 October 2017