Laws
of Motion Karine Polwart Hudson Records
Karine Polwart is a real Folk talent.
She is capable of wonderfully sensitive and ethnic vocals with a
versatile range encompassing anger,wistfulness,sorrow and pain. She
has an eye (and an ear) for painting pictures in word and sound.
Though her roots may be in traditional and/or celtic music,as a
songwriter she is not afraid to approach the contemporary.
Accompanied by Steven Polwart and Inge
Thompson,some of the arrangements here are quintessentially
modern,with a lot of thought put into the background sound as well as
the instrumentation.The three of them had a hand in the
arrangements,whilst other credited musicians include Kevin McGuire
(double bass) and Calum McIntyre(percussion). The album was produced
by Karine herself plus Inge Thompson and Stuart Hamilton. Hamilton
also recorded and mixed it at Castlesound Studio and Dean Honer
mastered it. Quite a cast then,and quite a journey to get this album
out on release.
It
gets very metaphysical. There is nautical, ornithological,botanical
and meteorological imagery everywhere. Two song titles “Crow
on The Cradle” and “The
Robin” have
both direct and indirect
avian images,whilst elsewhere in other songs kittiwakes and puffins
wheel overhead.
“The Robin” is
just a rather lovely homage to Rubecula. Whereas “Crow
On The Cradle,” written
by Sydney Carter, is really an allegorical anti war song:the only
cover on the album. On several levels it really touched a nerve with
me. Surrounded as we are here by big trees,the Rookeries and Jackdaw
nurseries create a wall of sound from dawn to dusk at the moment.
Corvid babies shriek and scream from the Ash and Cedars all day. But
shoot them? Because they are a nuisance? No,I never would. Whacking a
cushion with a fly swat is as dramatic as I get when I'm outside and
I want to hear myself think. It makes them disperse and go back to
their roost,but inevitably they come back..
. Polwart's poetry is rich in the elements and in flora,fauna-and
geology. Gardens are mentioned in several songs. Scots
Pine,bracken,heather,willow gorse, eucalyptus and jasmine are among
the roll call. The songs roam from braes to peatlands,across moors
heaths and deserts. On land there is gneiss, sand and granite. Waves
lash across oceans and onto shores.
The title track I really liked.
Co-written with Martin Green,( along with “Suitcase,”)
the lyrics are both powerful and evocative. With multi-tracking,echo
and reverb among production tricks it has a much bigger sound than
most of the other content. As a consequence it fairly rocks along at
times. Classic opening sequence and a brilliant hook line/chorus. I
can't help feeling I'd like to hear her tackle some Americana or
roots music via a style like this. It would work.
“Cornerstone”
is a restful ,intelligent piece with nice harmonies,tasty harmonics,
an ambient arrangement and an eclectic instrument choice in the
musical exchanges. Like “The Robin,” “Ophelia”
has a softer, ethereal quality to it. “
I burn but am not consumed,”
is a great title and a great concept. It is a brave combination of
spoken word,sound effects and song. Jazz, song and performance arts
don't always work for everyone. I'm ok with it myself but although it
makes great listening, I bet the “live”
stage performance of such a
piece is an experience a level above just listening the album.
“Cassiopeia,”
with additional Vox from Richard Medrington also has spoken word as
well as sung lyrics. For me it's more effective than the
previous,longer multi-media track.
Top marks for the packaging. A triple
gatefold CD (card not plastic) contains a comprehensive booklet
including lyrics and credits. The sleeve itself carries further
interesting background to the songs and a rationale of sorts. “I
didn't set out to write songs on a unified theme,” Karine
declares. “ They've just landed that way.”
And
so they have. “Laws of Motion” is a bold and ambitious project.
Dealing with movement,migration,and travel over time and space as it
does, it travels from place to place and across time. The studious
approach to such topics,linked loosely together reminds me of work by
Phil Hare, Harbottle & Jonas,The Young 'Uns and many others. Nor
was I surprised to see Mike Vass mentioned n the credits either.
Another artiste I have reviewed favourably in FM before.
Overall,there is something for
everyone here. It's a strong album,and one to listen to with a glass
of wine or a mug of tea,whilst watching the sunset.It requires
concentration and it needs to be revisited before one gets all the
subtle nuances. If this is your introduction to Karine Polwart you
will be impressed. If you are returning to her,you won't be
disappointed.
Sisters
and Brothers Na-Mara
This
2019 production is the fifth album release by Hertfordshire duo
Na-Mara ( Gaelic translation by (or near) the sea)? They are Rob
Garcia ( Guitar Mandolins and vocals) and Paul McNamara (guitars and
vocals). Dan Garcia guests on Bodhran and percussion.
Na
Mara's self-penned songs are melodious and commendable. They are well
sung clearly enunciated standard British fare with worthy topics and
sing along choruses that I bet go down really well in the Folk Clubs.
They have another string to their bows however which fair doubles
their versatility. They have a diverse knowledge of World music,
specifically French-speaking genres such as Breton,Walloon and
Quebecois material which they adapt themselves.
Thus
as well as cautionary British tales about the perils of gambling,
insurance fraud and exploitation of accursed and oppressed
workforces,one can find Bourrees and a Galician muineira. ( My word
processing package doesn't do accents so if the lads are reading this
they'll have to forgive me for omitting them).These jolly
instrumental interludes add light and shade to the album.
Some
tracks are bilingual,featuring decent pronunciation and the
translations are generally sound lending them an air of authenticity.
( I bet it earns them a few extra boules de cidre too,when touring on
the continent). “Compagnons
De La Marjoiaine,” for
example
is
a
traditional French song which flits effortlessly from French to
English with a fluidity which would make a few right wing politicians
apopleptic with rage.
“If I had but one true Love”
demonstrates the same properties-so they are no one trick pony. “The
Poor Refugee”
is another cultural crossover:Na-Mara words sung in English and
applied to a traditional Quebecois tune uncovered by Vent Du Nord. It
deals with the timeless and boundary-transcending subject of the
stateless in search of asylum or just armistice somewhere.
Tackling
“Time
Wears Awa'” is
a brave and pleasant enough undertaking,but for me it is a song best
performed by a female singer. Once you have hear the Paper Circus
version with Jennian's breathtaking vocals,you won't sleep soundly
again for a week or more.
“The
Black Widows”
is a self-penned tale about a more contemporary cause celebre (that's
French you know). It's a cautionary tale about life expectancy in
Liverpool during the 19th
century. “We
Met Upon The Barricades,” also
original, has elements of gallic style about the melody and deals
with the trials of being on opposite sides. “English
Penny”
is based on a true story and commemorates the adventures of nurse
Penelope Phelps during the Spanish Civil War.
Sisters
and Brothers is a truly international album. It comes tidily packaged
in a gatefold sleeve with useful sleeve notes inserted into a handy
pocket inside. It was recorded at Kingshill Valley Studios in St
Albanns and was mastered by Ben Behesty in Clerkenwell.
