Like a number of bands riven by personnel disputes, artistic differences or simply shafted by the music industry, early 1980s glam metal pioneers, Wrathchild, were one of those outfits that had long ago divided into rival factions, each touring with their own version of the band and a series of long-running disputes about use of the name.
However, in a statement this week on his Facebook page, original lead singer and over-the-top mascaraed frontman, Rocky Shades, posted a statement to say his own version of the band had finally won the right to use the Wrathchild name:
“Rocky Shades Wrathchild will now be officially known as “Wrathchild” since the ownership of the much disputed and controversial trademark and legacy has been returned to its co creator and motormouth frontman Rocky Shades.“
“The new Wrathchild is the five-piece band that should have been since day one and is considerably heavier than its older incarnation. The original members have either retired or turned their back on the genre that made them.“
The band were originally formed in Evesham, Worcestershire, in 1980, with the debut album Stakk Attakk coming out in 1984.
The current line-up of the band is now original vocalist, Rocky Shades, accompanied by Gaz Wilde (drums), Jonny Suicide (bass), Oz Paul (guitar) and Bret Patrucci (guitar).
In the band statement, Rocky Shades adds: “Wrathchild are currently in talks with a major American management company and a few interested record labels but are set to release their own single imminently called ‘Still Here In The Freak Show. This will be uploaded to a brand new pending website and a video will follow later. The B-side of said single is a reworked rerecorded version of fan favourite ‘Trash Queen’.“
The band are currently rehearsing for appearances at:
Hard Rock Hell – Great Yarmouth – Saturday 11th March 2023
The Billsley Rock Club – Birmingham – Saturday 8th April 2023
Mist & Wing are a Scottish musical duo made up of Alan and Grace Murray and their debut EP, Step Into The Light, was released at the back-end of last year.
Hailing from the Isle of Skye and growing up with a stammer, Alan Murray found music to be a way of connecting with others that, for him, was easier than speaking.
The EP comprises five tracks of Americana-tinged indie-folk, four songs written by Alan plus a self-composed instrumental. Joining Alan Murray (vocals, guitar, fiddle, mandolin) and Grace Murray (vocals, piano, acoustic guitar) are Jack Henderson (guitars, bass, keyboards, percussion) who also produced the album, Donal McCruden (drums) and Calum Munroe (accordion).
Lead single ‘Country Mile’ (with accompanying video filmed on the Isle of Skye) is a classic driving song, all about wanting to escape the city and take off to the coast.
The duo’s name is inspired by Gaelic words for the Isle of Skye and the influence of the island’s landscape and heritage runs deep through the music. It’s not the only influence, however, by any stretch of the imagination. For a start, they are more indie-folk than trad- folk but the duo also look west from Skye right across the Atlantic for other inspiration and the country influences of the United States very much seep into their songs. Add in a gift for some good old-fashioned storytelling, some catchy choruses and some easy-on-the-ear melodies and you have a compelling combination that makes Step Into The Light an extremely likeable debut.
Legendary Sex Pistols bass-man, Glen Matlock, has this week released a second single as another taster from his long-awaited new solo album, Consequences Coming, which will be released in April.
Glen Matlock: “Magic Carpet Ride, with its fingers crossed Instant Karma-esque groove, is part of a quartet of songs from my forthcoming album, Consequences Coming. It attempts to deal with the road to nowhere journey we are being whisked on, to who knows where, who knows how and who the blinking flip knows why and is a sincere pleading that it is not the cul de sac that it promises to be, with the only escape route being the garden gate installed for a laugh by the flat earth society.”
He adds: “It also has a great slide guitar by Earl Slick.”
The original bassist and songwriter of the Sex Pistols, Matlock is responsible for co-penning some of history’s most iconic songs, “Anarchy In The UK,” “God Save The Queen” and “Pretty Vacant”. After his time with The Sex Pistols, Matlock went on to form several well-regarded bands including Rich Kids (with Midge Ure). He has collaborated with such artists as Iggy Pop, and Primal Scream, and is also a highly in-demand player, playing live with the likes of the legendary reformed Faces.
Matlock’s new deal with the Cooking Vinyl label will additionally see re-releases of two of his previous solo albums: 2010’s Born Running, and 2018’s critically-acclaimed Good To Go.
Credit Danny Clifford
Matlock makes no apologies for the politically-charged flavour of this latest album:
“The album was written and recorded in Britain over the last 18 months or so with a posse of seasoned but on point performers. All done during the debacle that is Brexit and the rise and fall of the turgid Trump episode in the US. These songs reflect my take on the whole sorry mess that has ensued.”
“Now the wheels of the music business can sometimes move at a lugubrious, glacial pace, and sometimes the moment might be lost but seeing no break in the clouds or clear light at the end of the tunnel, surely the only demand on people’s lips should be that there are ‘Consequences Coming’ for the fat headed oafs who have foisted their asinine warped sensibilities on us.”
“The tunes are pretty catchy too…”
It’s a busy month for Glen Matlock who, in addition to his solo work, is also currently touring the UK and Ireland in a celebration of Iggy Pop’s Lust For Life album. Stepping up at the eleventh hour to replace original Lust For Life bassist, Tony Fox Sales, who was unable to tour, Matlock joins legendary Blondie drummer, Clem Burke; broadcaster and Pet Shop Boys dancer, Katie Puckrik on vocals; Iggy Pop and David Bowie collaborator, Kevin Armstrong on guitar; Luis Correia, who’s toured internationally with Earl Slick on second guitar together with classical pianist, composer, and touring member of Heaven 17, Florence Sabeva on keyboards.
On the eve of the Lust For Life tour, Matlock commented:
“It will be a bit of a challenge stepping into the top player and gentleman Tony Sales’ shoes at the last minute but challenges put hairs on your chest and are not to be shirked. To be on stage with these fellow like-minded guys and gals and celebrate our collective musical ancestries should be a pleasure, so come on down and let’s all hit the roof together.”
Annie Dressner, Lucy Grubb, Dan Wilde and Luke James Williams set out this month on a six-date tour to perform as part of their songwriters’ circle. Bound by a shared love of classic songwriting, these four acclaimed singer-songwriters present an evening of song, performed both individually and in collaboration.
Between them they have amassed appearances at some of the UK’s biggest festivals, including Glastonbury, Cambridge Folk, Green Man and Black Deer, garnered rave reviews from the likes of Folk Radio, Maverick and Paste Magazine and received airplay on BBC Radio 1, BBC Radio 2 and BBC Radio 6 Music.
Annie Dressner tells Darren’s Music Blog:“I am very excited for this tour, going on the road with three of my favorite songwriters. The first half is going to be a songwriters’ circle situation, where we take turns singing our stuff solo — and the second half is going to be us playing each others’ songs, but as a band. I have learned bass, a (literal) drum and am playing keys for the first time in many years on stage. It’s not to be missed!”
Dan Wilde adds:“As solo singer-songwriters we’re all used to heading out on tour and being on stage alone and that this tour gives us a chance to feel like a band.”
Tour dates:
18th March 2023 – Trowbridge – The Pump 19th March 2023 – Stroud – The Prince Albert 20th March 2023 – Cambridge – Junction 2 21st March 2023 – Maidenhead – Norden Farm Arts Centre 22nd March 2023 – Manchester – Gullivers 23rd March 2023 – Birmingham – Kitchen Garden Cafe
I was in two minds whether to include this in my latest round-up of folk releases, not because I don’t thing it’s a strong album – it’s excellent – but the term folk barely covers what Into The Wilderness is about. This boundary-defying debut album spans indie, folk, prog, singer-songwriter and much more besides.
Eliza Delf:“The songs that appear on the Into the Wilderness album share a common thread. Each explores the wilderness that lies outside, and the wilderness that exists inside – sometimes mysterious, sometimes scary, sometimes enchanting. But always a place where you can find the truth if you’re willing to look for it.”
Comparisons have been made with everyone from Sandy Denny to Kate Bush, with some degree of justification in both of those cases. Delf is very much her own woman though and with this impressive debut release she demonstrates her talent and inventiveness as a singer-songwriter, and an ability to appeal across a range of genres.
Decemberwell Decade is a winter-themed album where Scottish folk multi-instrumentalist, Mike Vass, returns to ruminate on those often harsh Scottish winters that inspired his 2012 solo album, Decemberwell, coming up with a completely new body of work. I might be coming to this a little late in the season but it’s February and even down here on the English south coast, there’s a definite chill in the air still.
The original Decemberwell album originated when Vass found his teaching work cancelled at short notice due to the vast quantities of snow clogging up the Scottish road network.
Mike Vass:“Rather than rewatch the same box sets I set myself a challenge – to spend December writing and recording some Scottish winter-themed music and record a daily video diary of the whole process.”
The follow-up is every bit as breath-taking. The largely instrumental album (all newly-composed by Vass save for two reworkings of traditional material) beautifully evokes the wintery weather conditions and seasonal traditions of the final month of the year. While the original album was very much a showcase for Vass as multi-instrumentalist, this one sees him stepping right back from playing and acting as composer and producer for a gifted team of musicians. Mesmerising.
Rachel Walker & Aaron Jones – Despite The Wind And Rain
You could be forgiven for thinking that Despite The Wind And The Rain was another winter-themed release. But the debut duo album from Rachel Walker and Aaron Jones is all about celebrating the role of women in Scottish history.
Rachel Walker:“We have both worked in the traditional music scene for many years, and in that time we’ve become aware of the lack of songs that celebrate Scottish women for their success or achievements. There are plenty of tracks out there which will detail a woman’s beauty, or her broken heart, but few which acknowledge her intelligence, sense of adventure or courage. We sought to rectify that with this album.”
With ten original compositions, the duo celebrate the lives of women as diverse as Sgàthach, the mythical warrior queen of Scottish legend, to the nineteenth-century astronomer, Mary Somerville, to two leading figures in the women’s suffrage movement, Flora Murray and Elsie Inglis, whose contributions to Scottish political life are commemorated in the song, ‘Sunflowers’.
Both Walker and Jones are in fine voice, with lead vocals shared out between the two across the album’s ten tracks. Moreover, the sensitive storytelling, poignant melodies and beautifully-executed instrumentation all do justice to the women whose lives the album sets out to celebrate.
When I reviewed The Trials of Cato’s debut album, Hide And Hair, for the now-defunct fRoots magazine back in 2018, I enthused that few debuts exhibited as much vitality as this one and predicted, like many, that we’d be seeing a lot more of them. We certainly did that. Their rise in the folk sphere was meteoric, yet it would be four years from the release of Hide And Hair before we had the chance to hear a follow-up.
Robin Jones:“Lockdown gave us a chance to really look at what we are about as a band and what music we wanted to create. We wiped the slate clean and challenged ourselves to create as much as we could without outside influences. Our beautiful and sometimes mysterious Fenland surroundings helped to realise this album and although we’re now delighted to be back on the road, this was a space in time that certainly helped us to create this music.”
That wiping the slate clean has seen a change in line-up, with Polly Bolton coming in to replace original member, Will Addison, and bringing a female vocal into the mix for the first time. There’s still plenty that’s familiar on Gog Magog though, from the reworking of Welsh language poetry to Robin Jones’ distinctive tenor banjo – and the band remain as captivating as ever. The only track I was slightly underwhelmed by was ‘Bedlam Boys’ but that’s only because I don’t think anyone can beat Gigspanner’s version for its sheer manic inventiveness. Overall a very welcome return from some of folk’s real innovators.
Ian Walker is an accomplished songwriter and performer, recording over twenty albums and having his songs covered worldwide. Joining Walker (vocals, banjo, guitar, autoharp), his band comprises Jimmy Scott (vocals, guitar), and Moe Walker (vocals), who are supported on this album by some legendary veteran musicians: John Graham (The Clydesiders, John Graham & Jim Jack), Alan Reid (Battlefield Band, Alan Reid & Rob van Sante), Stevie Lawrence (Red Hot Chilli Pipers, Rallion, Iron Horse) and acclaimed blues harmonica player, Fraser Speirs.
We Come To Sing is a highly entertaining and song-packed album. Its eighteen tracks span an eclectic mix of both Walker’s own material (songs like ‘We Come To Sing’, ‘Rammy In The Glen’ and a re-recording of his anti-apartheid anthem, ‘Hawks And Eagles Fly Like Doves’ – which originally appeared on Walker’s 1985 solo album); alongside covers of classics from the likes of Richard Thompson, Sandy Denny and Tom Paxton; as well as popular traditional songs like ‘The Water Is Wide’. Definitely an album to put a smile on your face.
An all-star line-up will celebrate the forty-fifth anniversary of the release of Iggy Pop’s classic Lust For Life album with a tour of the UK plus a special one-off date in Dublin.
Legendary Blondie drummer, Clem Burke, will be joined by former Sex Pistol and punk pioneer, Glen Matlock on bass; broadcaster and Pet Shop Boys dancer, Katie Puckrik on vocals; Iggy Pop and David Bowie collaborator, Kevin Armstrong on guitar; Luis Correia, who’s toured internationally with Earl Slick on second guitar together with classical pianist, composer, and touring member of Heaven 17, Florence Sabeva on keyboards.
The band will perform the Lust For Life album in full, as well as revisiting songs from across the individual band members’ careers with legendary artists including Blondie, David Bowie and the Sex Pistols.
Glen Matlock steps up at the last minute to replace Tony Fox Sales.
Glen Matlock: “It will be a bit of a challenge stepping into the top player and gentleman Tony Sales’ shoes at the last minute but challenges put hairs on your chest and are not to be shirked. To be on stage with these fellow like-minded guys and gals and celebrate our collective musical ancestries should be a pleasure, so come on down and let’s all hit the roof together.”
Clem Burke:“Due to Tony’s unfortunate last minute unavailability we’ve decided to soldier on with my mate and current Blondie bass player Glen Matlock . Everyone in the group is looking forward to a great night of Rock ‘n’ Roll with a few extra surprises in store .”
Three of the band members, Glen Matlock, Clem Burke and Kevin Armstrong have toured with Iggy Pop and each has made an album with him: Glen Matlock (Soldier) in 1980, Clem Burke (Zombie Birdhouse) in 1982 and Kevin Armstrong (Blah Blah Blah) in 1986.
Katie Puckrik adds: “I’m a show pony from way back: along with my broadcast career covering pop culture, I toured the world dancing with Pet Shop Boys, I performed at Sadler’s Wells with The Fall and Michael Clark Company, and I sang in Sparks’ opera The Seduction of Ingmar Bergman, both on the original cast recording and onstage. I have worked with towering icons of music, but taking on the magnificent Iggy Pop’s vocal duties for this Lust for Life re-make/re-model is an electrifying opportunity like no other. Not only do I get to sing anthems like ‘Lust for Life’ and ‘The Passenger’ (as well as my personal fave from the album, ‘Success’), but I’m surrounded by some of Iggy, The Sex Pistols, Bowie and Blondie’s key players, including Glen Matlock, Clem Burke and Kevin Armstrong. So strap on your horse tails and join me in celebrating Lust for Life.”
For more than a decade an out-of-season trip to Butlins has been a fixture in my diary at least once each year: numerous trips to Minehead for the Giants Of Rock weekends, several trips to Skegness for the Great British Folk Festival and a handful of additional trips to the same resort for the Rock & Blues weekends. Over the years I’ve rented chalets with large groups, with smaller groups, with family, with friends and with friends I’ve made along the way. Thanks to Butlins I’ve enjoyed tons of live music, met various bona fide music legends in the flesh and connected with likeminded fans from across the country. But now it was finally all coming to an end. Butlins had pulled the plug on Giants Of Rock last year and now this year both the folk weekends and the rock & blues weekends were going the same way.
In response to customer complaints about the demise of the Great British Rock & Blues Festival, the Butlins team have been at pains to stress that the event had been in decline commercially for a number of years. Certainly, the various tribute band weekends that the company stage these days seem to be a far more lucrative option, attracting higher visitor numbers and the stag and hen weekenders who are there primarily for tongue-in-cheek fun and spending vast amounts at the bar rather than the quality of the music per se. And no fat fees for big-name acts to worry about either. If I were running Butlins I’d probably go down the same route myself, particularly as it was becoming increasingly clear that the crowds at the rock, folk and blues weekends weren’t getting any younger and simple demographics dictate that the existing punters weren’t going to be going along forever.
Of course, as an actual punter it did feel rather sad that it was all coming to end. I had vainly hoped that the Rock & Blues weekends in Skegness might continue once Giants of Rock had bitten the dust. But it was not to be. Although my tastes generally lie more at the rock end than the blues end of the spectrum, there was plenty of both to enjoy over this final weekend, however.
Highlights this year included the tremendous Ten Years After (a band I only properly rediscovered live at Minehead last year after seeing them once at Reading Festival back in the early 80s); the irrepressible Steve Gibbons (who announced at the end of his set that he’d had a clear out of all the old merch in his garage and that all the money raised from it was going to the relief effort in Ukraine – of course I bought some); sixties girl singer turned seasoned blues legend, Dana Gillespie (who delivered perhaps the filthiest set of the weekend, with some gloriously innuendo-laden blues lyrics); the Chicago Blues Legends (Billy Branch and John Primer with upcoming legend, Jamiah Rogers); and finally the Verity Bronham Band (I’d seen both John Verity and Del Bronham on numerous occasions at similar weekends over the years and it was lovely seeing them join forces for a stupendous sing-along set of rock classics.)
So farewell then Skegness Butlins. I really can’t see myself trekking across the country for a bunch of tribute bands in future. However, there’s still a decent bunch of off-season festival weekends out there offered by other holiday firms so it could well be time to explore some of those in future.
[Images Steve Gibbons on stage, Steve Gibbons and Darren at the merch desk, Dana Gillespie on stage]
“Storytelling is at the heart of Duffy’s songwriting but she finds a unique angle or topic on each track that brings a fresh perspective to a common and relatable issue.” – Maverick magazine on the debut Little Lore EP
‘Normal’ is the latest single from Little Lore, the alter-ego of London-based Americana singer-storyteller Tricia Duffy, and will be released on 20th January 2023. Featuring Little Lore’s characteristically astute storytelling and beautifully heartfelt vocal, in tandem with Oli Deakin’s equally engaging arrangement and exquisitely empathetic production, ‘Normal’ is another gorgeous slice of lush Americana from the acclaimed singer-songwriter.
Little Lore:“I wrote ‘Normal’ when I was isolated in my bedroom with Covid. I had been locked in my room for about five days at the time I picked up the guitar – I was feeling much better, but still testing positive. My husband travels a lot and couldn’t risk catching it so I had to stay away from the family. I am a huge fan of Jeanette Winterson’s writing. Her memoir is called ‘Why be Happy When you Could be Normal’ and this title really resonated with me as I have a lot of very strong feelings about how socialised we are to accept things because that’s what is done or expected rather than what makes us happy or fulfils us. I was using an old Guild Songbird guitar to write with – it has a very twangy sound which instantly inspires me to write in a higher registers.”
“As always Oli Deakin has worked his magic with the arrangement and production, really emphasising the syncopation and building the energy of the song. When I briefed Afiya for the artwork she came back with multiple ideas for how she could approach it. I decided to leave it to her discretion – after all she is an artist herself! When she sent me the final artwork I was absolutely blown away. It is a brilliant visual of female empowerment – perfect for this song.”
Little Lore is a London based, Indie-Americana singer-storyteller whose songs are both charmingly accessible and yet beguilingly challenging. You’ll want to listen twice. When you combine British wit and wordplay with cherished Americana roots, musical magic starts to happen. Based in Chiswick, west London and originally hailing from Portsmouth, Tricia Duffy started her singing career in a live covers band performing popular rock classics. Over time, however, a strong desire emerged to begin writing and performing her own material and she formed an acoustic Americana duo with fellow musician, Al Bird. Duffy & Bird released a well-received album ‘5 Lines’ in 2017 and a follow-up EP ‘Spirit Level’ in 2019. While Al subsequently decided to take a back seat from recording and performing, Tricia was keen to take things a step further. Little Lore was born. Her debut solo EP, Little Lore, was released in 2021 to glowing reviews. The single, ‘Shallow’, was released in April 2022 to similar acclaim, followed by ‘Brown Liquor John’ in October 2022 and ‘Birds’ in December 2022. In her songs, Little Lore brings together an affection for the heart and heritage of Americana music, with an intelligence and maturity of storytelling that can sweep you away into new and unexpected emotional worlds.
Release information:
Vocals, lyrics and music: Tricia Duffy
Production and instrumentation: Oli Deakin.
Drums: Morgan Karabel
Artwork: Afiya Paice, a West London-based artist and designer.
Starting out his professional career as a drummer, Patrik Jansson performed with a variety of blues bands, jazz combos, hard-rock and metal acts in his native Sweden. Keen for change in direction he picked up a guitar and began honing his skills as a guitarist, singer and songwriter. Inspired by the heavy blues of the Texas blues scene, Jansson then began putting a band together with a clear idea for the kind of direction he wanted to take things in.
Jansson: “I wanted to play blues with a more modern approach. Blues is supposed to feel fresh and alive, it’s a most vital music in my opinion. In short I wanted to play the kind of music that I would like to hear myself and that I think a lot of other people would like and appreciate”.
Several albums with the Patrik Jansson Band followed: a self-titled debut in 2007, Here We Arein 2014,So Far To Go in 2017 andIV in 2020. At the end of October 2022, another change in direction came with the release of Jansson’s solo album, Game Changer. In contrast to previous band releases this one features Jansson playing all the main instruments himself, save for a few appearances by sundry guest musicians on a handful of tracks.
Just as my own musical tastes and the type of acts I cover on Darren’s music blog have always been pretty eclectic, Jansson’s latest album nicely echoes such eclecticism in its own influences, too. Jansson draws on his own musical background playing rock, metal, punk, pop, Americana, reggae, blues, jazz and fusion, bringing all of those influences to the fore in Game Changer.
”I believe there is only two kinds of music, good and bad. Listening to and playing so many different kinds of music, from Bob Marley, Johnny Cash, John Coltrane, Chic Corea and Weather Report to Stevie Ray Vaughan, Buddy Guy, Deep Purple, Led Zeppelin, Black Sabbath to name a few, there has never been a shortage of influences. If it sounds good, it is good! This time it was quite liberating to create music without putting up any limitations or boundaries and the mix of different genres and styles is bound to be nothing less than interesting.”
“This is the first time I have played all the instrument myself. It was a great experience and it was great to have the time to really find the right feel and sound for each song. This album is 100% Patrik Jansson. It’s a mix of everything that I have played and listened to throughout my career. It’s dark, beautiful, rootsy, heavy, groovy and moody. It’s music played with passion and I’m very proud of it.”
From mellow bluesy ballads, to jam-style instrumentals, to Hendrix-esque hard rock, to infectious rhythm and blues, to pumping reggae, Game Changer is an entertaining album featuring Jansson’s creative and highly personal take on the blues. Well worth checking out.
Janice Burns & Jon Doran – No More The Green Hills
A duo formed in 2017 while the pair were still at university in Newcastle, Janice Burns is originally from Glasgow while Jon Doran comes from Gloucestershire. Their first full-length album, No More Green Hills follows a well-received self-titled EP which came out in 2020.
With the pair sharing lead vocals, Janice Burns plays mandolin, guitar, harmonium and piano while Jon Doran can be heard on guitar, bouzouki, harmonium and fiddle. All of the songs on the album are traditional and tracks like ‘She Moved Through The Fair’, ‘As I Roved Out’ and ‘The Greenmore Hare’ will be familiar to even the most casual of folk fans. However, with the duo’s vocals perfectly complimenting the elegant simplicity of the musical accompaniment, all eleven songs are delivered with such warmth that you would have to have a heart of stone not to be moved by this wonderful debut.
Ian Bruce, Pete Clark, Ian Lowthian & Bruce MacGregor – The Land We Love
A small charity set up in 2011 with the aim of preserving the culture heritage and history of the Scottish Borders, Well Road Productions commissioned four musicians to create a new body of music celebrating the work of Borders poet, Will H. Ogilvie. Long-convinced that some of Ogilvie’s poems would make for fine songs, the organisation brought together Ian Bruce (guitar/vocals), Pete Clark (fiddle), Ian Lowthian (accordion) and Bruce McGregor (fiddle).
Born at Holefield, near Kelso in the Scottish Borders in 1869, Will H. Ogilvie spent time in Australia as a young man, becoming a notable ‘Bush poet’ there before returning to Scotland. It his work from this latter stage that is the focus for this album. The musicians, and particularly vocalist Ian Bruce, do such a fine job interpreting his work that it is hard to imagine that the words here were not originally conceived as songs. The Land We Love is a fascinating insight into Borders life, lovingly curated.
Breabach’s seventh studio album, and their first for four years, Fàsintroduces new member Donal McDonagh on pipes and whistles, joining established members Megan Henderson, James Lindsay, Callum MacCrimmon and Ewan Robertson.
Callum MacCrimmon: “Fàs is much more song based than our previous albums and is deeply rooted in nature. It features original instrumental compositions from each band member, inspired by global climate-action youth movements, seed-vaults, figures close to the band and places close to our heart.”
While it the key ingredients of a typical Breabach album, the band have not shied away from experimenting in recent years and with Fàs they introduce progressive and avant-garde elements alongside the Breabach signature sound. The album features guests, Keir Long on synthesiser and Inge Thompson on programming, percussion and kalimba. The ecological theme, too, is especially welcome. It’s so easy to feel an overwhelming sense of despair about the state of our world and with our collective failure to tackle the climate crisis. Fàs injects a note of hope.
Celebrated as fiddle maestro extraordinaire with Bellowhead and for any number of collaborations with contemporary folk royalty, Sam Sweeney has also been pursuing a parallel solo career in recent years. Escape That is Sweeney’s third solo album.
The only instrumental album in this current round-up, the musical journey Sweeney takes us on is more of a gentle meander than a Bellowhead-style romp but is no less enjoyable for that. Infectious melodies (which draw as much from modern pop as traditional folk) showcase Sweeney’s exceptional playing which is backed up by a stellar cast of supporting musicians comprising Jack Rutter, Ben Nicholls, Louis Campell and Dave Mackay.
Sam Sweeney:“Escape That is the most ‘me’ music I can imagine making. It ties together my love for traditional dance tunes with my obsession with pop music hooks and textures.”
“It’s not trying to be anything. It’s as close as I’ve ever got to sharing the sound of the inside of my head.”
When Tender dropped through my letterbox, I thought to myself that I haven’t seen a new album from the excellent female vocal trio, Lady Maisery, for quite a few years. On checking, I discovered that Tender is actually their first new album since 2016’s Cycle.
Hazel Askew, Hannah James and Rowan Rheingans bounce back with a highly inventive album comprising new original songs as well as their own unique interpretations of work by Björk, Tracy Chapman and Lal Waterson.
On the tour to promote the album late last year the indomitable Rowan Rheingans hilariously revealed on Twitter that one overbearingly entitled male audience member sent them a lengthy email setting them “homework” to do before their next tour. There’ll certainly be no homework from me. It’s a beautiful album. Gorgeous harmonies, compelling storytelling and musically adventurous. A deserved success.
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