REVIEW: ‘Wait For Me’ – Snowpoet

A PORTAL to aesthetic escapism, the divergent and beautifully efflorescent approach of Snowpoet (vocalist Lauren Kinsella and producer/instrumentalist Chris Hyson) was laid down in an early EP and their eponymous debut album of 2016, followed by 2018’s Thought You Knew.

Now, new release Wait For Me explores ‘the deeper questions of how we love, how we accept our faults and how we let go in a time of profound confusion’, offering ‘protection and solace, advocating openness to adversity and a way to safely navigate great change’. In that vein, perhaps these twelve original songs are more cogitative than before, given the uncertain age in which we presently live – but they’re no less compelling.

Whether you hear Godley & Creme/10cc in multi-layered A Chance To Hear The Rain, Annette Peacock in the ‘spoken singing’ of pop-pulsed The Wheel, or Laurie Anderson in the oblique art of Early Feelings, Kinsella and Hyson have the ability to coax memories of our formative years’ musical experiences, distilling them through their unique brand of genre-defying music and poetry (pop/electronica/jazz might be an opening reference point). There are also songwriter evocations of Joni Mitchell and Björk, with digital grooves and effects that bind the whole with more current influences. Each listen prompts another ripple of emotion – maybe a fleeting, halcyon recollection or even a physical sensation of hypnopompic warmth; and Kinsella’s wordplay may ‘click’, baffle or provide a single line or phrase that feeds the imagination. That’s the artistry – and therein lies the allurement.

Friends from the jazz/creative music world again contribute to the weave, including saxophonist Josh Arcoleo, pianist Matthew Robinson and drummer Dave Hamblett. While the structural foundation of these creations can sometimes be a simple oscillation or riff – as in the folky zephyr of FaceTime or elevated, anthemic Sky Thinking – it’s the blend of Hyson’s synthy atmospheres/arrangements and Kinsella’s distinctive palette of vocal expression and lyricalness that produce the wonder. For example, Roots bustles to her signature clipped soundbites and harmonies over radio-friendly beats, while also featuring Arcoleo’s billowing sax and the nightingale-suggested violin of Alice Zawadzki.

Preceded by Tiers’ industrial, Eno-style smog, With You hints at the electronic bop of Everything Everything, Hyson’s busy production packing much into its four minutes, while sustained fortitude in Here’s the Thing (“… she has a secret, there’s a field, there’s a forest, there’s a river running through her”) maintains a balmy sway. Burn Bright, too, possesses the gossamer weight of earlier Snowpoet, Kinsella’s encouragement (“Can you touch someone’s pain? Burn bright, my love”) supported by improvisatory elegance from Zawadzki and Arcoleo. The gently-accompanied prose of Floating Practice is delightful – just rest and listen; and ticking, nursery-rhyme-like chant Wool, Cotton, Lace & Snow leads out with “sunny days … and warming rays”.

Through word, music and ambience, Snowpoet adeptly build the layers on their canvases, while at times leaving space for our own impressions and emotions. These fifty minutes might simply wash over you, provide an urban soundtrack or become profoundly moving and connective. However you respond, there’s no doubting Snowpoet’s continued mastery.

Released on 19 February 2021 (streaming/download) and 26 March 2021 (worldwide – CD/LP) at Edition Records.

 

Lauren Kinsella vocals
Chris Hyson piano, synths
Matthew Robinson piano, synths
Josh Arcoleo saxophone
Dave Hamblett drums (except on With You)
Lloyd Haines drums (on With You)
Alex Haines guitar
Alice Zawadzki violin

snowpoet.co.uk

Edition Records – EDN1166 (2021)

REVIEW: ‘Haven’ – Berardi Foran Karlen

AUSTRALIAN PIANIST Sean Foran is likely to be best known for his vibrant and long-running jazz outfit Trichotomy, but this ensemble with vocalist Kristin Berardi and saxophonist Rafael Karlen (plus their guest, Luxembourg-based vibraphonist Pascal Schumacher) visits distinctly alternative environments.

Read my full review at LondonJazz News…

Released on 20 November 2020 and available as CD or digital download at Bandcamp.

Videos: No Shepherds Live Here, Bushfire Break and Orbit – Brisbane International Jazz Festival, 2017

 

Kristin Berardi vocals
Sean Foran piano
Rafael Karlen saxophone
with special guest
Pascal Schumacher vibraphone

bfkmusic.com

kristinberardi.com
seanforanmusic.info
rafaelkarlen.com

Earshift Music – EAR029 (2020)

REVIEW: ‘Øjeblikke Vi Husker’ – Hvalfugl

THEY BREEZED IN with debut album By in 2017 and airlifted purple whales over Scandinavian peaks with 2019’s Somm En Faldskærm. Now, Danish electric guitar, piano/harmonium and double bass trio Hvalfugl release their third album, Øjeblikke Vi Husker (Moments We Remember) – another temperate airstream of blithe melody and ‘feel good’, this time occasionally augmented by featured artists.

The musical world of Jeppe Lavsen, Jonathan Fjord Bredholt and Anders Juel Bomholt oscillates between Nordic jazz, European folk/country, ambient reverie and even a touch of hymnal repose. And whilst the clear accessibility of their carefully arranged and precisely performed original numbers could initially be mistaken as ‘lightweight’, beneath is a beautiful depth of emotion and honesty which reveals itself – and that overall combination is both attractive and heartwarming. Lavsen’s pellucid guitar lines are a prominent melodic feature; yet the trio is completely intertwined and balanced, each dependent on the other for this open, congenial flow. Maybe that’s the keystone of their success.

Averaging three to four minutes, none of these thirteen frequently visual impressions outstays its welcome, but leads naturally onto the next. So the gently falling flakes of grey-skied Snefald Over Fjorden (Snowfall Over the Fjord), with Sørensen’s soft trumpet perhaps wistfully recalling childhood days, ease to reveal the coruscating sunlight of Polardrømme’s (Polar Dreams’) shimmering piano and guitar over Bomholt’s tuneful bass riff. Folksong, as an influence, never feels far away – Funklende Blikke (Sparkling Glances) dances brightly to its double cello elegance; and piano-led Sommereufori (Summer Euphoria) does have that tingle of a halcyon tune heard way back when.

The subtle waves of Bredholt’s harmonium in Dugvåde Asfaltstriber (Dew-wet Asphalt Stripes) provide a tranquil, homely ground to support Lavsen’s echo-effected guitar, while drums and trumpet bring a rare, rhythmic busyness to Hvalfugl in Regnen Falder Som Sne (The Rain Falls Like Snow). Rather special is the clear, yearning cello of Vandrer Mig Til Ro (Wandering To My Rest) – imaginable as extended, emotive soundtrack material, certainly aligned to the album‘s theme of ‘memory’; and lyric-suggested Der Hvor Alting Ender (Where Everything Ends) epitomises the band’s lambent glow.

Hvalfugl’s output is not oblique, innovative or challenging – but neither should it be labelled or heard as ‘background music’. Expanding the instrumental weave only enhances their finespun landscapes, and this album’s easy-going 45 minutes call me back to bask in the positivity of their autumn-mellow riches.

Released on 4 September 2020 and available as CD, digital download and limited-edition vinyl from Bandcamp.

YouTube audio track: Dugvåde Asfaltstriber

 

Jeppe Lavsen guitar
Jonathan Fjord Bredholt piano, harmonium
Anders Juel Bomholt double bass
with featured artists
Jakob Sørensen trumpet
Lasse Jacobsen drums
Gabriella de Carvalho e Silva Fuglsig cello
Rebecca de Carvalho e Silva Fuglsig cello

hvalfugl.dk

(2020)

REVIEW: ‘Stillefelt’ – Stillefelt

IN THE STILLNESS of the night, this is an enthralling place to inhabit.

Stillefelt (translated from Norwegian as ‘quiet field’) is the eponymous debut release from improvising trio Chris Mapp, Percy Pursglove and Thomas Seminar Ford; and their ‘nattmusikk’ drew an immediate, emotional reaction at a late hour… and then called me back to listen more deeply.

Misty, often brooding landscapes are created from the relative simplicity of electric bass, trumpet/flugelhorn and electric guitar – but the digital manipulation of these otherwise traditional tones expands the creativity in a subdued wonder reminiscent of e.s.t.’s final studio experiments (Leucocyte and 301). The album’s progression – in six tracks, named perhaps for distinction only – has the remarkable, continuous effect of eliciting sometimes indeterminate feelings. But, warm or cold, they arrive. So, in a quiet space, the music can become personal to the listener; and that, in essence, is the profound alchemy of improvisation. 

From the thriving Birmingham jazz scene, Stillefelt is described as a ‘dynamically quieter response’ to Mapp’s band, Gonimoblast (which features vocalist Maja SK Ratkje and trumpeter Arve Henriksen). Their explorations are prompted by ‘short cell-like ideas’ from the bassist, provided simply as starting points; so, in live performance, the landscape is ever-changing. Ostinati and riffs might suggest the root of each piece, but it’s their complete evolutionary and immersive nature which stands so effectively.

While nocturnal imagery is tangible through the album, slowly stirring aubade, opening, paints a springlike awakening through sustained guitar layers and breathy trumpet; and Pursglove’s mouthpiece sputters combine with radio-wave electronics to widen what seems like a heat-hazy portrayal of nature. Mapp’s bass regularly provides an effective (sometimes chordal) foundation, and the initial hint of Scandinavian folksong in a kind of day is tinged with an ominous, hollow jarring which becomes more urgent.

This sound world cleverly adopts a ‘three-dimensionality’ akin to photographic depth of field. The industrial hisses, gargles, squawks and whistles of expansive towards a rusty future can be unsettling, set against a subliminal ticking metre. But segueing into the more saturated quiet field, Mapp’s muted, pulsating bass takes the trio towards a hopeful horizon. Pursglove’s tone is now cleaner as it melds into half life, where open guitar, bass and skywards electronics create an otherworldly beauty only interrupted by the opening, free-jazz clamour of never…ending – until tentative calm is restored.

It’s an environment of invention and discovery; a broad canvas over which we might wander through our own imagination – and all sparked by this spontaneous artistry. A magical thing. 

Recorded live at Royal Birmingham Conservatoire, Stillefelt is released on 3 April and available as a limited edition CD, or digital download, at Bandcamp.

Video promo.

 

Chris Mapp bass, electronics
Percy Pursglove trumpet, flugelhorn 
Thomas Seminar Ford guitar, electronics

Visual art / sleeve design: Tom Tebby

chrismapp.co.uk/stillefelt

Stoney Lane Records – SLR1883 (2020)

RECENT LISTENING: March 2019

Mike Walker – Ropes
Mike Walker, Gwilym Simcock, Iain Dixon, Steve Rodby, Adam Nussbaum and Psappha Strings
Released 15 March
propermusic.com

Marton Juhasz – Discovery
Marton Juhasz, Yumi Ito, Sergio Wagner, Paco Andreo, Enrique Oliver, Szymon Mika, Olga Konkova, Danny Ziemann
Released 24 January
martonjuhasz.bandcamp.com/album/discovery

Daniel Herskedal – Voyage
Daniel Herskedal, Bergmund Waal Skaslien, Eyolf Dale, Helge Andreas Norbakken, Maher Mahmoud
Released 8 March on Edition Records
danielherskedal.bandcamp.com/album/voyage

Bridges – Continuum
Seamus Blake, Hayden Powell, Espen Berg, Jesper Bodilsen, Anders Thorén
Released 15 March on AMP Music & Records
www.ampmusicrecords.com/releases-1/bridges-with-seamus-blake-continuum

Vasil Hadžimanov Band – Lines in Sand
Vasil Hadzimanov, Branko Trijic, Miroslav Tovirac, Bojan Ivkovic, Pedja Milutinovic + guests
Released in January on MoonJune Records
weblinkhttps://vasilhadzimanov.bandcamp.com/album/lines-in-sand-hd

Frostlake – Ice & Bone
Jan Todd, Terry Todd
Released 28 February on Discus Music
discusmusic.bandcamp.com/album/ice-bone-79cd

REVIEW: ‘Space Jazz’ – Inwardness

THE MEMORY remains vivid of three musicians taking to the stage at 2017’s Manchester Jazz Festival, where an intimate gathering had little or no preconception of what they might experience; and, in many ways, neither had the performers. Inwardness comprises Davy Sur, David Amar, Maciek Pysz – and their vision is to create improvised soundscapes both from and using the space around them.

Read my full review at LondonJazz News…

Released on 11 May 2018 and available from Ozella Music, Amazon, Apple Music, etc.

 

Davy Sur drums, percussion
David Amar soprano saxophone, synthesiser, electronic effects
Maciek Pysz electric guitar, classical guitar, effects

maciekpysz.com/inwardness 
davysur.com/inwardness-music

Ozella Music – OZ085CD (2018)