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BRown Wimpenny comes up with a name that reflects the softness of the twee indie group, before you realize that it was seth Lockwood’s younger uncle, banjo Seth Lockwood’s uncle, who moved from a West Yorkshire farm to the US in the 19th century. Then on Sunday you hear the first one-hour album of this small group, which was made in Lockwood’s Manchester living room. A group happy to showcase the mud of their music, these eight songs are still favorites.
The album opens with a medley that reaches high, building from an atmospherically driven instrument over a low cello drone. A dusty production forms part of the song’s cracks, but when Lockwood’s banjo takes the lead, it carries the whole band with building energy.
The Sheffield Grinder/Black Joak, connecting north London’s industrial estates, has a similar energy, although accordionist and singer James Brown, who sounds like the One and Only Peter Perrett in front of the Pogues, plays in excess. Other interesting pairings include O’Keefe’s/Farewell to Whalley Range, well-led by the proud Ella Evans, and Often Drunk/Kings of Kerry/Teddybear Jig, who wanders somewhere unholy before diving into the masses.
Living in the same country as the Shovel Dance Collective is A group of Goblinsit is clear that they are deeply committed to excavating and celebrating folk music, but their harsh interpretation of the music can make it sound like magic, distorting the music, diminishing its power. The band is at its best in the quiet zone: in the opening sections of Raglan Road, the dying moments of Jesus on Your Commandment, and the moving singing of Pratty Flowers (The Holmfirth Anthem). The most understated track, Old Molly Metcalfe, introduced by Yorkshire singer Jake Thackray, is the album’s best moment, every string strummed, shimmering and soft harmonies touching.
Also this month
Magic Tuber RopegroupClear, flowing and beautiful water (Fun Jockey) examines the effects of a nuclear power plant on rural and urban areas in South Carolina. Dramatically played and field-recorded classical music creates a magical world infused with magic and horror, from the haunting Blooms in the Rapids to the apocalyptic Sound of a Million Stars.
In Norway Cabin Trio releasing an impressive album Vindespel (self-release)which mixes the beginnings of hardanger fiddle with new music and jazz (its title means “wind”). The most beautiful are Dråpeslåt (Drop Tune) and Sildreslåt (Murmuring Melody), which take on a similar rhythm and unusual setting.
Frankie Archer‘s Dance of Death (self-released) it’s also fun, a group of nine “nu-ancient trad bangers” who create something subtle yet dangerous, injecting trip-hop atmospheres and pounding ballads while keeping their edge and avoiding flashy novelty.
