Available exclusively to readers of The Independent online, Navigator and
Reveal records present a compilation of 30 tracks of the finest new music
around, all free to download.
Download the whole albumbelow, or listen
to, read about and download individual tracks on this page. The track
descriptions have been written by Tom Rose, who's in charge of both
Navigator and Reveal Records.
In 2005, Jon Redfern armed with a clutch of self penned songs, sold his house in Manchester, left his job and without a label or live career to fall back on, de-camped to London and made a record he could ill afford to make, just because he felt he had to do it. That spirit is all over his debut album “May Be Some Time” (from which this song is taken) which he recorded at Peter Gabriel’s Real World Studios. Shortly after he’d pressed up early copies, someone handed me a CD to give to another friend who liked ‘folk’ music. Intrigued I played it in the office and I was amazed by the quality of his writing, arrangement and the recording, so much so even before the album had finished playing through for the second time, I’d emailed Jon to say I’d like to meet up with a view to releasing it on my new label if he was interested. I think you just know right away when something feels right and every time I hear this I’m transported to a different place, it feels so very out of time and is incredibly emotive. Jon is a rare artist who ‘made’ music he believed in, without concession to fashion or finance or any outside influence. On this song he takes a full two minutes before he even sings a word and when he does he leaves us only a few hushed lines of a beautiful lyric. The album wasn’t a great commercial success despite our best efforts but it continues to be passed on between enthusiasts, something of a lost classic then that longs to be discovered! Jon’s sadly turned his back on a music career after battling with more music industry indifference than is sensible to expose yourself to, there were so many missed career enhancing opportunities you could write a book on them, but the recordings he’s left behind, especially on his debut, are to me, as close to raw artistic perfection as any artist could ever hope to get, I’m hoping he comes out of hiding one day and makes another beautiful record for us to enjoy, fingers crossed..
A Camp is Swedish superstar Nina Persson (The Cardigans)and her New York based composer and husband Nathan Larson (formerly of American rock band Shudder To Think) alongside them is fellow musical Swede, Niclas Frisk(from Atomic Swing). 'Colonia', the 2009 second album this song appears on, is, in the words of one reviewer "Persson striking gold - 'Love Has Left The Room' is her ‘winner takes all.’" A Camp make brilliantly bittersweet, intelligent music and are three of the most talented, thoughtful and generous people you could wish to meet. A Camp agreeing to release their music on Reveal was genuinely a great surprise to me. They had numerous other larger options open to them and it’s a real honour to work with them. The new album (like the Sparklehorse produced debut I listened to as a fan, non-stop all summer long),is a gem - electricity, wig powder and laudanum, a very particular perfume, Eau d'Colonia.
Dead Air is Rainy Orteca, a rare and inventive female artist, incredible musician, classy graphic designer, calm teacher... God knows what else she’s good at but she remains somewhat mysterious even to her closest friends. I admire her greatly. The first time I went to New York, Rainy took me under her wing and out to see some of the cities "alternative" attractions. After her own gig on the first night we went to an intense and dramatic late night drag/hardcore-punk gig at a rock club, where the band threw food into the audience as part of the show (I took a crème ring in the eye; welcome to New York!),the second was the exact opposite but equally memorable, a plush Manhattan hotel bar close to Broadway, to listen to a veteran of the stage sing standards to no more than a handful of lucky souls, the highlight of which was a dedication to us on “Moon River”!) Her musical guise, Dead Air, is pure DIY and futuristic. Dead Air was the name she gave to her college radio show (which she rarely attended because of the very late night time slot) hence the name.After dropping out of college and going to work in a art museum news arrived that Courtney Love’s band HOLE had lost their bassist. Rainy brazenly submitted both tape and a letter to Hole’s manager despite not playing the bass. Soon after, a friend tipped her off that Courtney and Kim Deal of the Pixies had been in Philly "fucked up looking for you last night", which led to her getting flown out to rehearse with the band by Geffen Records.Learning bass started with rehearsals for 'Live Through This' by Hole and despite Rainy not joining, it lead to a "weird buzz" about her work and another call (this time from Joan Osborne). Rainy initially turned her down but subsequent calls and a hit song later, she decided if she was to sell her soul it had better to take her to Japan!So for the next three years, she toured Japan and the rest of the world, appearing on Top Of The Pops, The Grammy Awards and all the rest of the major television and radio shows and co-wrote two songs with Ms Osborne before quitting music (temporarily) to take up a position at Nickelodeon TV as a graphic designer.
Comic Sarah Silverman coaxed her out of early musical retirement to join her band to make a movie and Rainy tip-toed back in with other work with Lloyd Cole and Dave Derby. The next call was from Joan Wasser, who had recently started Joan As Police Woman, and Rainy also played bass on Antony And The Johnsons Mercury-Prize winning album 'I Am A Bird Now', on his song “Fistful Of Love” (featuring Lou Reed) during that time.In 2007, after years of playing other people’s songs, Rainy recorded the songs for her self titled Dead Air CDEP at her home studio. When she posted the first song on Myspace, the response was phenomenal. Dead Air was reborn: through improvisation and experimentation, entirely self-written, produced and engineered. Publishers soon became aware of Rainy as a writer and she was asked to write with French chanteuse Camille amongst others and I put the Dead Air cd out. “Tin Drum” (featured here) began as a stark, acoustic ballad which grew in atmosphere and instrumentation...it's lyrics are largely improvised. Rainy said she was trying to tell stories that might exist in another place. It's abstract, sometimes edgy and futuristic but she always hoped that at the same time the music was warm and accessible. Her own example of this is "if that female computer voice in the film “Alien” made a record. The one that says 'T-minus 60 seconds and counting?'. It's at the end of the movie and she's telling everyone they have 60 seconds to live--the information is coldly delivered but at the same time--SHE sounds so warm and inviting to me," - so not unlike Dead Air.
Another New York based artist or rather collective, "Nothing I Can Do" is about realizing that, whether it's a good thing or not, you have no real control over picking the one you love. Aside from the core group of Gramercy Arms members (Dave Derby, Kevin March (Guided by Voices), Sean Eden (Luna,Hilken Mancini) the song features some super back up vocals by Matthew Caws (Nada Surf) who literally turns the song on its head with his beautiful harmonies. Named after an imposing art deco apartment block at East 22nd Street, the album is a celebration of New York in all its dirty, beautiful splendour. A prime slice of West Coast pop with East Coast sensibilities, their debut clocks in at a concise 30 minutes, so there really is no fat on that album! We’ve got a couple of great EPs available online by Gramercy Arms too which are well worth checking out if you like this and Dave Derby (the main songwriter in GA) has a sublime solo record 'Dave Derby & The Norfolk Downs'.
Hearing Kris’ music was my first encounter with traditional/folk music and he was only the second artist I signed. I saw him sing a song called “Farewell To Fuinary” during a concert by Kate Rusby. His performance just blew my head clean off and I went home and got on the internet to learn more about him. After realizing that he was in fact a session musician by day and had no solo albums in the pipeline, I tracked him down and eventually got hold of him on the phone while he was on a train and asked him if he’d like to make a solo record. He could likely tell I knew nothing of the tradional music but he was gracious enough to hear me out and invited me up to Scotland where I got a crash course in Scottish folk and we had a drink and a meal and agreed to give it a go. I’ll never forget sitting in the pub in a Edinburgh during a session with a beaming smile on my face having heard Kris sing and play for only the second time, knowing we’d be working together. This song isn’t a traditional song, it’s written by Boo Hewerdine (more of whom later) and when we released it as a single in 2007 it got quite a lot of national airplay. The John McCusker produced album it’s taken from 'Black Water' has since been released worldwide and Kris has received loads of awards and high acclaim for his music. One of my favourite quotes from the time is: "It's only when you listen to artists like Kris Drever that you realise just how vital and relevant Folk music is." Which certainly rings true for me.
Mascott is a tender indie rock band helmed by New York's Kendall Jane Meade. Mascott combines soft piano and guitar pop with diary-like lyrical intimacy and our coming together was some whatpre-destined, as there were so many connections linking us already. I used to sell copies of her previous albums on import via my old record store; Rainy Orteca (Dead Air) designed the sleeve for one of those records; I’d seen her play in her days with Sparklehorse (who produced A Camps debut); she’d just collaborated with Gramercy Arms; and was once at college and lived with/played in bands with Joan as Police Woman... Oh yeah, and she uses the same practice space as A Camp, so it was a near inevitability that we’d hook up eventually, which we did last year, for her wonderful 'Art Project' album. The New York Times said that Kendall "turns folk-rock into stately pop, wrapping vulnerability and longing in quietly radiant arrangements", which she does throughout this album to great effect. The track I’ve included here is just Kendall, acoustic guitar and voice. It’s the song from her ‘Art Project’ album, I think I love the most, at least that’s how I feel today.
Nels hitch-hiked all the way to Alaska for a season in the fisheries, to South Dakota to plant trees in the Black Hills, before landing in Taos, New Mexico and eventually making his home in Brooklyn for his second album 'Off Track Betting' (from which this song is taken). I first heard Nels on the radio late one night listening to Bob Harris. Bob had picked Nels’ debut out as one his “Albums of the Year” and so I got in touch to invite Nels to play a live set in the record store when he was next in the UK. I hadn’t really expected to hear from him again after the instore, but by chance when he was assembling his band for the second record he asked Ben Perowsky (then of Joan as Police Woman) to play drums and Ben must have suggested to Nels that he should send a CD to me. Some great musicians feature on this record: alongside him and Ben, there are Todd Sickafoose (Ani DiFranco, Erin McKeowen) on bass, Adam Levy (Norah Jones), keyboardist Michael Jorgensen (Wilco) and vocalists Ana Egge and AJ Roach. Nels said the songs on this album "are hymns to that place, when you’re not lost, but you’re not quite there yet, when all you can do is know deep down that the next exit must be yours." With 'Off Track Betting' he strays from the traditional American folk sound of his debut, moving into newer soundscapes that incorporate harp, klezmer banjos, sampled electronics, toy pianos and a glass orchestra. It’s a record I return to time and time again as there’s so much detail in the arrangements.
Reveal, the label, was started after seeing Joan open for Rufus Wainwright, we put out an EP and released a single for her, that (after being picked up by Marc Riley and Gideon Coe at 6 Music) sold out in no time and entered the indie charts.Plans were then hatched and (continuously extended!) as Joan kept on coming into the UK from New York all year long, building up a loyal fan base, touring and touring, doing every single thing that ever came up to promote the album. Her work rate matches her musical talent, she’s quite unlike anyone else I’ve come into contact with. So it all felt very natural when she did get the extremely positive responses for her album 'Real Life' and follow up 'To Survive'. I don’t think she had a review less than 4 or 5 stars, everyone seemed to get the record in a big way and the public seem to agree.Working hard together she got her music out far and wide by building on every positive that came along, in every country. The 'Real Life' album carries on getting great press even three and a half years after its original release, and Joan's music is held in the highest regard by her musical peers (Elbow's Guy Garvey, picked this as one of ten favourites when asked by Uncut, David Sylvian guested on her second album 'To Survive' and invited Joan to collaborate with him on his own project, the Scissor Sisters asked Joan to collaborate on some songwriting and I heard Paul Weller had Joan teach him the chords to "The Ride" and encouraged her to get the label to re-release it as a single when they met at a gig in Europe). Joan is currently writing for her third album, she’s selling out large theatres and touring the world over as a successful and highly original, solo artist. “The Ride” was the first single from her debut album 'Real Life' - tell a friend and pass it on. It’s a classic debut and recently Word Magazine agreed when they included it in their poll of "Best Albums of this last Decade", I wouldn't bet against her repeating the success either. A limited edition cover versions CD is available from the Reveal website while stocks last called 'Cover'. A new studio album should follow in 2010.
Madam is Sukie Smith, the Essex born musician, composer and actress. Sukie wrote the soundtrack for the film 'Hush Your Mouth'(directed by Tom Tyrwhitt) and sent me a blank CDR of it to listen to. I replied to ask if she had done that on purpose to see if I really did listen to every submitted demo (man, she’s sneaky like that, I still think she did)... and we got talking from there. The first song I heard of Sukie’s was a demo version of this track. She’s created a noir sound all of her own with a wide array of influences and even a windscreen wiper solo on one album track. She’s also always in touch but never talks on the phone (why?). When I’m down in London, she’ll tell me which way to go and how to get places... she’s streetwise, funny, caring and clever. Madam is also utterly bonkers and her shoes are always mental - or rather, the height of London fashion! She says she’s "equally influenced by, mountains, betrayal, intrigue, boys, girls, inbetweeners. x can, Townes van Zandt, Mary Margret O'Hara , Francoise Hardy and Phil Spector." As requested, I took her first CD of demos to the top of a car park to listen for the first time, so I could see the city and sky at their best. Then we texted ideas about the tracks for an album. They turned out quite different; she had a clear vision and didn’t dilute it, she did most of the record all by herself and the few bits she couldn’t do, she learned or got people in who could do it and teach her at the same time. Sometimes I think her arrangements sound like someone has taken all the instruments apart and put them back together slightly wrong, they are off balance and skewed, but that’s in a good way. Sukie has collaborated with Saskia Volde to make the Tate Gallery exhibited piece "Placebo", she also says every word in her lyrics are true. I have been sent three emails and a text this week about new songs... I can feel another trip to the top of a car park coming on.
The ethereal "Don't Worry" is a duet with one of this country's most distinctive voices, Becky Unthank (The Unthanks). Becky had long since admired Jon’s work and he opened for her band numerous times around the time of their first album tour in 2006. When Jon needed a voclalist to duet on this two minute album closer, Becky was his first choice. This track is the last song on Jon’s second album 'What Else Is Love?' A record packed with an unashamed outpouring of emotions.
Boo’s one of Englands finest songwriters, there can’t be much arguing about that surely! He’s a lyrical genius if not a lyrical gangsta. I used to follow his music and buy his records (tapes) with The Bible when I was at school, so I was pretty chuffed when our paths first crossed when Boo was producing Heidi Talbot’s album 'In Love & Light', the first album for Navigator. His new album 'God Bless The Pretty Things' has just come out and Boo appeared on BBC1’s Andrew Marr TV show the other Sunday morning singing this very song. Boo’s a very funny man, I sometimes wish he’d quit the one line abstract texting as a form of business communication, because it’s like code breaking to work out what he’s thinking, but then again we did have a great game of "change The Smiths song title/lyric" to pass the boredom around dinner time/sound check tonight – which was won with the succinct “The Queen Is Dread”. He’s been blogging too, for the Music Magazine, you can read him here http://www.themusicmagazine.co.uk/features/5747, and he’s on tour into December, with remaining dates here http://www.boohewerdine.net/events.html.
Irvine Welsh (famous fan) said of Dean's music, "You could spend all day picking through the folk, rock n roll, blues, country and punk influences, but I think of him as a white soul boy, because every time he sings a song, he's not messing around or showboating, he means it and feels it with every fibre of his being. Now that is something special - Cheers, Dean, you've brought along the heart, so the whiskies are on me." It’s hard to disagree with Irvine. Deans third album 'Whisky Hearts' is undoubtedly his finest work to date. Recorded in Nashville with a stellar cast of Stateside guests including Gram Parson’s cohort Al Perkins and former Jayhawks member Jenn Gunderman, it sees Owens buoyantly expanding his creative and expressive horizons, drawing on inspirations as diverse as family relationships, growing older, and the wide open spaces of the California desert. His eloquently emotive singing, incisively pared-down lyrics and rootsy Americana stylings, that have long been his trademarks, feature alongside a range of influences stretching from classic country-rock to cool contemporary pop, summery 60s vibes to Celtic-tinged folk. Dean is currently working on songs for an New York recorded EP with Gramercy Arms producer Dave Derby.
Heidi Talbot was recently nominated for an Irish Music Award for best female artist and has seen her solo career really take off over the last 18 months. Her second album 'In Love & Light' launched the Navigator label in fine style and her singing is so good that she’s forever being asked to work with many other artists, including those on the label (appearing on recordings with Roddy Woomble, John McCusker, Kris Drever, Boo Hewerdine, Inge Thomson). Already well known to American folk audiences as former lead singer with the Irish-American supergroup Cherish the Ladies, Heidi has now extended her talents over a broader, bolder musical canvas, in company with a stellar cast of guests. Included here is her version of the classic Ink Spots hit, "Whispering Grass". Eddi Reader said of Heidi that "Ms Talbot is one of the most generous musicians I know. I love the way she sings and she loves what she does. She is CLASS!"The new album features a mixture of contemporary and traditional songs, an old-timey American number - The Blackest Crow, on which Talbot duets with Kris Drever - a cover of "Cathedrals" by the cult US band Jump Little Children, and two new originals by Boo Hewerdine, who also produced the record. Heidi is a featured guest on the forthcoming solo albums from Radiohead drummer Philip Selway, and on the forthcoming Kris Drever album 'Mark The Hard Earth'. She is about to start work on her next album and will be back touring in support of that. Before then there are a few shows this year with Drever, McCusker, Woomble and Eddi Reader lined up. For details click here http://www.heiditalbot.com/home.html
14. Into The Blue / Kris Drever, John McCusker, Roddy Woomble
These three musical friends had the bulk of their album written over the course of just six or seven afternoons in John McCusker's Edinburgh living-room, demoed on a laptop, then transferred to the studio with judiciously minimal embellishment. John then got an array of stellar guests from both the folk and rock spheres to contribute to the album, including Radiohead drummer Philip Selway, Teenage Fanclub's Norman Blake (vocals) and Francis MacDonald (drums), Capercaillie bandmates Donald Shaw (keyboards), Mike McGoldrick (flute/whistles) and Ewen Vernal (bass), plus partner Heidi Talbot. The band toured the UK in spring of this year selling out the Union Chapel in London and Queens Hall in Edinburgh before returning to the stage during the festival season. Roddy is busy once again with his band (of ten years) Idlewild, Kris has ongoing commitments with the award winning trio Lau and his solo career, while the Spirit of Scotland Award nominated John McCusker has a forthcoming world tour with Mark Knopfler to prepare for and is producing Heidi Talbot’s forthcoming third album. The band have a a handful of shows lined up pre Christmas in England and Scotland. Details here http://www.drevermccuskerwoomble.com/index.html
The Green Machine started life as Lau accordionist Martin Green’s commission piece for last year’s Celtic Connections’ New Voices series. ‘Wild noise carvings’, voices of unspoilt beauty and a brass band shrunken and mutated during their trip through time and space sit atop a backline of broken beats and ferocious groove. Girls, Brass, Beats and Accordions; they’ve got it all going on have Green Machine. Edinburgh jazzer Sophie Bancroft shares vocal duties with recent Bonnie Prince Billy collaborator, Inge Thomson, Brass living legend Rick Taylor features with Fergus Kerr (french horn) and Andy McKreel (tuba), both regular players with the SNO and other leading orchestras. GM Back-line is provided by Barnaby Stradling (Eliza Carthy, Blowzabella) and Ayrshire rhythm master Alyn Cosker. The many terrifying talents of member Tom Cook include electronics, guitars, sound manipulation and live sampling (Tom is a producer of drum’n’bass and electronica, working out of his native Brighton under the name “Manni”). Add to this mix accordion problem child Martin Green playing accordion, samplers and more and you have the formidable new album “First Sighting”, the most easy on the ear / accessible track of which I’ve included here “23a” so as not to send you all running for the hills! It's worth spending the time to absorb the entire record by the Martin Green Machine. It’s a stunning piece of work from a maverick musicial mind and quite unlike anything else you’re likely to hear this year.
Taken from their latest album “Matachin” which is a magnificently murky and rum-sodden collection of 11 traditional and original songs from an 11 piece band who defy easy categorisation. Not many bands would have the courage to embrace this staggering range of songs or manage them with such enthusiasm and skill. But be advised, 'Matachin' is not for the faint hearted. There are no whimsical maidens or gentle stories of love gone wrong. Instead you'll get dragged along on an exhilarating journey filled with cholera, whiskey, the high-seas and the Cold War. Although they have only been in existence for a few years, Bellowhead have an ever increasing fan-base including high-profile fans who range from the West Coast's Red Hot Chili Peppers to the West Midlands' Frank Skinner. Blending folk, rock, ska, jazz, soul and world music influences with dashes of English Music Hall and cabaret, between them, the 11 musicians play more than 20 instruments, six of them sing and their arrangements are already the stuff of legend. The band were nominated for an Irish Music Award, Songlines Magazine Album of the Year and a BBC Folk Award during the last 12 months. Rumour has it they are the best live band in the world, this side of The Who. Go see them when they tour in January or catch their special New Year’s Eve celebration at Londons South Bank Centre, details here http://www.bellowhead.co.uk/
Rachael McShane is the cellist, singer, fiddle player (and only girl!) in 11-piece folk big-band Bellowhead. She is also now embarking on a solo career, working alongside musicians whose backgrounds are rooted more in jazz, soul and funk than in folk. Rachael’s band, featuring James Peacock (piano), Jonathan Proud (bass) and Adam Sinclair (drums), combine their eclectic influences to create interesting and exciting arrangements of traditional songs. Her debut album “No Man’s Fool” is rich with tales of many men, ranging from kind-hearted, well-meaning gentlemen to thieves, mysterious strangers and somewhat sinister characters. However it is the shrewd and audacious women who shine through in these traditional songs. She’s playing London Union Chapel with Chris Wood (with whom she collaborated on the recent Darwin Project commission) on December 2nd. Tickets here http://www.wegottickets.com/event/51242
This is one my favourite songs of all time not just from the music on this mix. Reveal released a special triple vinyl edition of Chris’ “Lark Descending” & “Trespasser” albums together and this summer Navigator released a double cd and download anthology, also called “Albion” of his career to date. He has a reputation for suffering no fools and is regarded by some as “abrupt” while his song writing has been praised, paradoxically, for its surgical clarity. His work is typified by his trust in musical “space” and a gift for lyrical understatement and he cites his major influence as “Anon:” Chris has worked with many artists including The Oyster Band, Billy Bragg, The Two Duos Quartet, Jean Francois Vrod, Hugh Lupton and his highly influential duo with accordionist Andy Cutting. He is currently working alongside Eliza and Martin Carthy in The Imagined Village. He set up R.U.F Records in 1992 and this label continues to carry his main catalogue of 12 titles. He also founded The English Acoustic Collective, a movable group of musicians, writers, photographers and choreographers who look to England’s indigenous arts as their inspiration. His first solo album The Lark Descending was released in 2005. The title takes Vaughn Williams’ English icon and stands it on its head. The songs openly celebrate the ‘unofficial’ side of contemporary English life. His 2008 Trespasser album took up the theme and focused on the concept of enclosure, spiritual, intellectual, cultural and physical. Having spelt this out in his sleeve notes the album was universally acclaimed going on to receive “Album of The Year” from BBC Radio Two and, from his colleague Billy Bragg. For his forthcoming album ‘Handmade Life’ Wood is less revealing about it’s genesis but the material clearly stems from an aversion to a human-centric generated fascination with the virtual. “?every time I fail to turn on the TV news or the radio or buy the Sunday papers or use my “club card” I move a little further along the continuum towards myself.” I’d urge anyone who likes this track to go to his tour later this month as it promises to be something pretty special. Chris has a new band for Handmade Life details of which you can read about here http://www.chriswoodmusic.co.uk/
19. Beads & Feathers/ Sandy Wright (exclusive track from the
forthcoming album)
Encompassing twenty years’ worth of material, the forthcoming debut and compilation double set ‘The Songs of Sandy Wright’ spans the epic and the intimate, the outlandish and the everyday, the comical and the quietly scathing. Wright’s gritty, pawky, long-distilled genius resonates so widely that he can only usefully be likened to such freebooting legends as Tom Waits or Johnny Cash – but with a distinct Caledonian salting of Ivor Cutler and Michael Marra. Last year Sandy was nominated for Composer Of The Year at the Scots Trad Music Awards, Navigator mark that with a very special album of his works both as writer and with his band the toxic cowboys. He says: “I’ve tried out loads of different styles and ways of writing things in my time – and I still do,” he says. “But basically what I do now, corny as it sounds, is just write about my own experiences, or things they spark off, folk I meet – I love people’s stories. All the stories in the songs are kind of like my diary: there’s a thread through them other people wouldn’t necessarily recognise; all these little markers and bus-stops where I remember when and why I wrote them.” As a chronicle of a life exceptionally well-told, The Songs of Sandy Wright is your introduction to a truly singular talent. Released in February 2010, the first disc is Sandy’s debut album and the second disc is fellow artists covering his songs (including Karine Polwart, Chris Wood, Eddi Reader, Roddy Woomble and many more). This is Sandy’s original version, there is a very different version by Chris Wood opening the Sandy compilation disc and and the first first version I heard was sung by Kris Drever and appeared on his album “Black Water” in 2006. Keep your eyes peeled for much more from Sandy’s album in the coming months. You can visit the great man online here http://www.myspace.com/sandywrightmusic
“Ghosts” is a song taken from the eponymously titled new album which Dave and Keith Angel describe as their best yet. The album was inspired by the recent death of their father Ivor who was a real lover of life and a constant source of encouragement and inspiration to the two brothers. This album features more vocals and textures than their previously largely instrumental based records, courtesy of fabulous Bombay–born female vocalist Sandhya Sanjana and the brother’s long –time associate Mick Humphrey. There are superb string arrangements and solos from English fiddlers Becki Driscoll & Nick Wyke and a cameo appearance from Dave Formula on keyboards who has been busy with the re-formed legendary band Magazine and recording his solo album (which also features Keith Angel on some tracks.) Angel Brothers is a soundtrack to a film of your imagination. The Angel Brothers trademark grooves are still very much in evidence on the record, due in no small part to Jim Lockey and Andy Seward’s consistently funky, intelligent and rock steady electric and double bass lines. Attention all listeners, don some good quality headphones in order to experience the full sonic effect of the recording!
Alyth was born and raised on the Island of Lewis off the Northwest coast of Scotland, she grew up immersed in the culture of these islands. A gifted performer from a young age, Alyth expanded on her traditional background by studying classical singing and drama at the RSAMD in Glasgow. Alyth is an artist who knows no boundaries - there is always a freedom in what she does. After the academy, Alyth returned to her roots to tour with bands throughout Europe and the UK. Her growing reputation has seen her much in demand from all sorts of recording artists, and she’s now appeared on 16 albums. Alyth’s voice has also appeared on various film soundtracks most notably ‘Festival’ by Annie Griffin - winner of the British Comedy Award for Best Comedy Film 2005. Her performances inspired by the beautiful and harsh, natural landscape of her childhood, its vibrant oral and musical tradition and the passion of the songs she learnt as she grew up. It’s this passion which drives her interpretation and performance as an adult. This is the title track from her Gaelic / English language album of the same name, released on Navigator earlier this year. More info here http://www.alyth.net
22. Will I See Thee More / John McCusker's Under One Sky (feat. Jim
Causley)
Under One Sky is a great example of musicians breaking down the barriers between folk and mainstream music, the album this track is taken from is an hour-long vocal and instrumental suite by the Scottish multi-instrumentalist, composer and producer John McCusker (who’s worked with Paul Weller, Kate Rusby,Teenage Fanclub and Ocean Colour Scene to name but a few), performed by a dozen of Britain's finest musicians. Originally a joint commission by the PRS Foundation, the Scottish Arts Council and the Esmee Fairbairn Foundation, Under One Sky set out to explore and interweave the many different traditions, genres and influences at work across today's dynamic UK folk scene. Bringing together an array of established and emerging talent from both sides of the Border, McCusker's hand-picked ensemble includes Blur’s Graham Coxon Idlewild vocalist Roddy Woomble and acclaimed Gaelic songstress Julie Fowlis,plus revered balladeer John Tams and folk’s rising star Jim Causley (who features as vocalist for this track). Within McCusker's compositional framework, each musician has been encouraged to contribute to the music's development and arrangements, infusing them with a vibrant collaborative spirit. McCusker says: "Every musician strives to keep doing exciting things, musically, and to play with great people to keep them inspired. Getting to collaborate with these musicians has been a highlight of my musical career’- well 2010 looks like another busy year for the Glasgow born musician packed full of more highlights, he’s off on a world tour with Mark Knopfler and there’s at least two new albums featuring his contributions planned that I know of, he’s some boy.
Fiddler and composer Aidan O’Rourke is another of today’s foremost Scottish musicians, renowned both as a founder member of Blazin’ Fiddles and Lau, and for his superb solo releases,the latest of which “An Tobar” this track “Sea” is taken from. His original compositions have won widespread acclaim for their innovative synthesis of diverse musical styles, and he has also featured on more than 80 albums by other artists! This his second solo release also originated as a live project, comprising music written to celebrate the tenth anniversary of An Tobar arts centre, on the Isle of Mull. With his sublime technical and expressive command, forged both from his rich native heritage and an incorrigible appetite for fresh musical adventure, O’Rourke is an artist who relishes stretching himself in different directions, and finding new common ground between them. Wherever his restless muse might lead him next, it’s sure to be a memorable journey. Find out more about his upcoming An Tobar concert tour and his dates with Lau here. http://www.myspace.com/aidanorourke
24. Tears Of The Sun / Inge Thomson & Martin Green - Exclusive track
from the forthcoming album
This is an exclusive collaboration recorded especially for the upcoming “Songs Of Sandy Wright” album- this time the track featured comes from the various artists second disc of the set. Inge hails from the microscopic, isolated Shetland island of Fair Isle, but she grew up in an enormous world of music. Her family are prominent exponents of folk and traditional music and she became involved with a piano keyed accordion at an early age, which eventually led on to even less socially acceptable instruments. More recently she toured and recorded with contempo/trad band ‘Harem Scarem’ winning critical acclaim for her songwriting and vocal prowess. A recent collaboration with Will “Bonnie Prince Billy” Oldham cumulated in a live album which received 5 stars from many music magazines. Currently Inge also brings her innovative vocal harmonies and multi-instrumental textures to the Karine Polwart Trio. Inge’s first solo album, “Shipwrecks & Static” is out now on Navigator, an eccentric marriage between melodic instruments and the bleeps and squeaks of electronic tomfoolery. Inge wrote, recorded and produced the bulk of the album and is joined here by the angelic voice of Heidi Talbot, the edgy guitars of Brighton based Tom Cook and a cameo appearance of husband Martin Green of award winning diddle-superstars Lau.
John Spiers and Jon Boden have been consistently wowing audiences up and down the country for the last few years with their unique blend of traditional English folk song with a contemporary twist and hi-octane dance tunes which get everyone dancing. Spiers & Boden now find themselves at the forefront of the new English folk revival. “The Rain It Rains” is taken from their 5th album, Vagabond, released in May last year. The tracks focus on the role of the itinerant and outsider, a theme prominent in a lot of traditional material, from ‘Robin Hood’ to the ‘Beggar Boy’. Winners of the Best Duo category at the BBC Radio 2 Folk Awards in both 2004 and 2006, and a Critic’s choice nomination at the BBC World Music Awards, John & Jon are also founding members of the wildly ambitious 11 piece Big-Band folk phenomenon, Bellowhead. More info about their concerts and recordings available here http://www.spiersandboden.com
Faustus are an English Folk Trio, all three members have been instrumental in the English revival of the last ten years (or so!).Saul Rose is one of the country's finest Melodeon players and a rapidly developing singer. He's played melodeon for over a quarter of a century! Saul works with lots of different line ups when away from Faustus and is usually busy playing somewhere.
Paul Sartin is a versatile musician and singer - as well as working with Faustus, Paul continues to be half of Belshazzars Feast and he is an integral part of Bellowhead lending oboe, fiddle, vocals and his inimitable jazz MC technique and dress sense to the group. Also a key member of Bellowhead, fretboard wizard Benji Kirkpatrick makes up the final third of Faustus. Benji released his solo album "Boomerang" (also on Navigator), the album features (amongst others) the Mercury nominated Seth Lakeman. Benji has worked on Seth's albums, with the Oysterband Big Session and Dr. Faustus, he continues to play in Seth Lakemans touring band. This song features on the self titled Faustus album released last year on Navigator.
Essex lads / instrumentalists Mawkin and Under One Sky vocalist / BBC Award nominee and solo artist Jim Causley joined forces a couple of years ago and formed one hell of a folk boy-band that in recent months has stormed the folk scene, seeing them on the front cover of magazines, in session on radio 2 and 4 and nominated for a BBC Folk Award even before the release of this years highly acclaimed “The Awkward Recruit” debut (from which “I Am The Song” is taken). Jim Causley’s richly bittersweet tones have been widely recognised as sensitive, hypnotic and fiercely traditional. 2010 should be an exciting year for these young collaborators. Discover more about the boys and when they are touring here http://www.mawkincausley.co.uk
One of the years greatest albums in my opinion is Jon’s “Songs from the Floodplain”, it follows in a long tradition of post-apocalyptic literature, from The Last Man by Mary Shelley (1826) through Ridley Walker by Russell Hoban (1980) to, more recently, The Road by Cormac McCarthy (2006). This is probably the first time the subject has been seriously tackled in the form of an album, though, it has to be said that ‘Songs from the Floodplain’ is far less bleak then that of the many novels which examine the subject. You are left to wonder whether what has occurred is a literal flood or a devastating man-made disaster, but the basic fabric of community has obviously survived, despite the collapse of industry, technology. Although the album doesn't tell a complete story, there are strong thematic links between all the songs. The ambiguous character of 'The Preacher' looms large in the darker numbers (Penny For The Preacher, Dancing in the Factory) whilst the character of 'the gypsy's daughter' dominates the middle of the album as a mocking onlooker to an archaic folk custom in Beating the Bounds and then later, as an object of adoration in The Pilgrim's Way and April Queen. The notion of rain and of flood is never far away giving ‘Songs from the Floodplain’s vivid narrative, epic proportions. The final track of the album (Has-been Cavalry) brings all the themes together with a defiant hymn-like quality. Every song was written and every instrument on the album played by Jon, a work of real depth and stunning originality. Find out more here : http://www.jonboden.com/
Talking of originality, folk music doesn’t come much more original than this trio. Current holders of the Best Group Award at the BBC Folk Awards for the last couple of years, Lau unleashed their second studio album “Arc Light” (from which Horizontigo is taken) in spring this year to wild acclaim. The band have since toured Europe and Japan and extensively again in the UK and Ireland. They will be on tour throughout November and into early December. Before taking a well earned rest and recording a new EP and performing in collaboration with the great Jan Garbareck at the celtic connections festival in January. Lau is avant-folk, their music entirely original compositions or songs written by Drever, Green and O’Rourke with the occasional nod to a traditional tune or lyric. Channel Four said they were the Best Group In The World right now.. and who am I to argue with that, find out more at www.lau-music.co.uk
30. Mark The Hard Earth / Kris Drever (exclusive from forthcoming album)
Here’s a little something extra special to finish the compilation, taken from Kris’ upcoming “Mark The Hard Earth” album (due in March 2010). Kris has been in the studio with America’s legendary Tim O’Brien making the new album again produced by John McCusker. Shortly Kris will be announcing details of a pre – release limited edition, so sign up for his email newsletter at www.krisdrever.com
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