ALBUM REVIEW: Rebekah Findlay - 'Northern Skies'

Rebekah Findlay, Northern Skies (self-released, 2010)



Fresh from the verdant lands of North Yorkshire, Rebekah Findlay releases her debut album: a gripping collection with a heart that firmly embraces the folk traditions, yet with unabashed contemporary blood positively coursing through its veins. Managing to be both vibrant and subtle, this is a more than impressive first effort, showcasing a singer who makes good use of light and shade in the delivery of her breathy vocals, displaying a commanding presence when in full force whilst being equally effective and assuredly compassionate when a more subdued approach is called for. Undoubtedly shaped by the history and landscape that surround her, Rebekah writes with a prescient grasp of language that invokes vivid imagery, delivering her interpretation of all that surrounds her with an eager pride.

Raised on Teeside, it should come as no surprise that Rebekah's coming-of-age tales and matters of the heart are scripted against a backdrop of shorelines and industrious harbours. "Harbour Wall" tells of stolen moments and a romance fuelled by shared dreams of the freedom and adventure promised by the vast ocean, contrasting with "Duty Bound" where the solitary existence of a lighthouse keeper paints a more desolate picture: "survived by no-one and husband to none, no son to take your place and keep your light alive."

Effortlessly shifting between traditional and contemporary, Rebekah shows her confidence on striking renditions of familiar traditional songs "The Blacksmith" and "Scarborough Fair," both brought to life with her bold interpretations. Perhaps the most telling fusion is on Rebekah's own "In Stone," preceded by a faux-radio recording of the Burneston Folk Club Singers' hearty rendition of the traditional shanty, "Haul In The Bowline." Remaining true to the spirit of the shanty, Rebekah picks up the more solemn story of a loved one left ashore to mourn the loss of her beau, taken by the unforgiving vigour of the ocean swell.

The language and imagery that pervades Rebekah's own writing often borrows from the tradition. Her bitter rebuke of warmongering on "Pipes & Drum" uses a language of wars long since past, yet evokes emotions and rhetoric that are as relevant now as they have ever been. Similarly, "The Lady Of The Lake," with its allusions to queens, knights, and swords pulled from stones, finds Rebekah cleverly creating her own folklore through which she depicts a universal tale of love, intrigue and deceit.

Augmented by a small group of musicians, the playing throughout Northern Skies is animated, bringing spark and spirit to a largely acoustic, enigmatic backdrop. The accompanying booklet is bedecked with the most beautiful illustrations that reflects the personal energy invested in the project, and the organic nature of both content and presentation. Northern Skies is a boldly intimate affair that is certain to catapult Rebekah Findlay to deserved wider attention and adoration.

Rebekah's website can be found here!

Rebekah's MySpace page can be found here!

EP REVIEW: Lau vs Karine Polwart - 'Evergreen'

Lau vs Karine Polwart, Evergreen EP (Hegri Music / Lau Scotland, 2010)



This combination of Scotland's most formidable music talents was always likely to create sparks. Evergreen is an intriguing collaboration of five songs, that really serves to whet the appetite for more of the same, pushing gently at the boundaries of the contributors' comfort zones. The distinctive voices of Karine Polwart and Kris Drever make for a compelling partnership, with the precision of Polwart's resolute vocals proving the perfect foil for Drever's more easygoing manner. The innovative arrangements of Martin Green's accordion and wurlitzer, and the fiddle of Aidan O'Rourke, flesh out the sound to give a commanding resonance, whilst also embracing quirky contemporary elements along the way.

The title track is the sole composition written by Polwart and Lau themselves; it's a haunting piece, with the fiddle of O'Rourke bringing an air of menace alongside layered vocal harmonies. Their evocative treatment of Dave Goulder's "January Man" subtly teases out the unease of passing time, whilst Lal Waterson's majestic "Midnight Feast" is delivered with an authoritative spirit, making it the stand-out track on the EP. The Blue Nile's "From Rags To Riches" is stripped of the synthetic accompaniment that graces the original, and nestled amongst a spacious acoustic arrangement that actually feels more befitting of the song's spirit. The EP closes with a rendition of "Lord Yester," opening with a most beautiful air, courtesy of Aidan O'Rourke's fiddle, and featuring a measured duet vocal from Polwart and Drever, that highlights precisely what makes this musical marriage so special.

When Karine appeared on Kris Drever's last album, I suggested that I'd like to hear further exploration of this alliance, so Evergreen is something of a bonus for me. I genuinely hope they all get together again to share more of their musical dreams, because they really do form the most glorious partnership. Karine Polwart may prove to be as significant an addition to Lau, as Sandy Denny was to Fairport Convention, all those years ago.

You can catch up with Karine Polwart on her website or on MySpace, and also pay a visit to Lau's website or MySpace page.

ALBUM REVIEW: T. G. Elias - 'The Man In The Iron Cage'

T. G. Elias, The Man In the Iron Cage (self-released, 2010)



You're unlikely to be familiar with the name T. G. Elias. At present, Elias seems to spend his time travelling between small, select venues who provide valuable opportunities for underground musicians to take their first tentative steps, and reveal their wares to an audience full of expectation and preconception. Elias boasts a distinct originality and intimacy that promises instant seduction, and it's difficult to imagine an audience who wouldn't ditch any expectations or preconceptions to fall under his potent spell.

As a reviewer, one of the laziest things you can do is to hail the new Dylan, every time a guitar-toting, harmonica-playing male turns up on the music scene. However, looking beyond these rudimentary musical props, there is still much about Elias that evokes the ghost of early Dylan. The Man In The Iron Cage has those same lonesome hobo echoes that permeated Dylan's earlier work, portraying a similarly mischievous and obtuse narrative, and folk-blues influence. Elias could well take up the mantle of the voice of yet another restless generation, albeit five decades on from Dylan's similar exploits.

"The Banqueting Cup" is an unashamed love song, in worship of a beguiling female, where Elias doesn't baulk in sharing the physical nature of this attraction, and the ultimate intimacy of discovery: "I played the old master when I unhooked your clothes." This isn't the sole instance of lustful yearnings, where Elias reveals a playful, flirty way with words; a strategy which may prove to be a key attraction, particularly to female members of his audience. However, closer examination of the lyrics often reveal intentions of an overtly carnal nature, rather than the more innocent tones of romance with which they are delivered. Elias appears to be pretty cunning when it comes to smooth talk!

There are moments tinged with gospel influences, with Elias rising perfectly to the challenge with his effortlessly soulful voice: "Love Is Armed With Only Hate And War" showcases a meditative approach, whilst "A Wicked Tongue" offers a much more rousing and uplifting alternative. The sole instrumental track on the album, "A Rag For Ronnie," is an energetic folk-blues romp on the guitar and harmonica, which appears to reach an unexpected and unintentionally premature close.

There is a simplicity about the music on The Man In The Iron Cage that cleverly combines engaging melodies, a nonchalant approach to performance that is brimming with fun, and lyrics that offer depth and candour. The stirring and expressive voice of Elias binds all this together perfectly, resulting in an absorbing listening experience, that is sure to leave you wanting more.

You can catch up with T. G. Elias on MySpace