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)

RECENT LISTENING: February 2021

‘Soft Works’ – Abracadbra in Osaka
Elton Dean, Allan Holdsworth, Hugh Hopper, John Marshall
Release date: 4 December 2020
softmachine-moonjune.bandcamp.com

‘Wait For Me’ – Snowpoet
Lauren Kinsella, Chris Hyson with
Matthew Robinson, Josh Arcoleo, Dave Hamblett, Lloyd Haines, Alex Haines , Alice Zawadzki
Release date: 19 February 2021
editionrecords.com

‘Songs of Joy’ – Yoko Miwa Trio
Yoko Miwa, Will Slater, Scott Goulding plus Brad Barrett
Release date: 12 February 2021
propermusic.com/ubuntu

‘Sounding Point’ – Mark Feldman
Mark Feldman – solo violin
Release date: 12 February 2021
intaktrec.bandcamp.com

‘Transparence’ – Hitra
Hilmar Jensson, Alessandro Sgobbio, Jo Berger, Øyvind Skarbø
Release date: 19 February 2021
alessandrosgobbio.bandcamp.com

‘The Glamour Action’ – Aparticle
Cristiano Arcelli, Michele Bonifati, Giulio Stermieri, Ermanno Baron
Release date: 22 February 2021
aparticle.bandcamp.com

RECENT LISTENING: February 2020 (1)

Old Wow – Sam Lee
Sam Lee, James Keay, Misha Mullov-Abbado, Josh Green, Bernard Butler, Letty Stott, Yusuf Narcin, Anthony Albrecht, Alice Zawadzki, Matthew Barley, Saul Eisenberg, Elizabeth Frazer, Mara Carlyle, Cosmo Sheldrake, Rowan ‘Dizraeli’ Sawday, Adrian Freedman, Caoimhin Ó Raghallaigh, Ben Edwards
Release date: 31 January 2020 (Cooking Vinyl)
samleesong.co.uk

Shoot the Moon – Mezcla
Michael Butcher, Joshua Elcock, Ben MacDonald, Alan Benzie, David Bowden, Stephen Henderson, Steve Forman
Release date: 7 February 2020 (Ubuntu Music)
mezcla.co.uk/music

The Letter – Shri
Shri Sriram, Bugge Wesseltoft, Paolo Vinaccia, Arild Andersen, Tore Brunborg, Ben Castle
Release date: 13 March 2020 (Jazzland Recordings)
shri-sriram.bandcamp.com

Truce – Markus Reuter
Markus Reuter, Fabio Trentini, Asaf Sirkis
Release date: 17 January 2020 (MoonJune Records)
markus-reuter-moonjune.bandcamp.com

Earth – Expansions: The Dave Liebman Group
Dave Liebman, Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz
Release date: 7 February 2020 (Whaling City Sound)
lydialiebman.com / davidliebman.com / whalingcitysound.com

New York – Copenhagen (EP) – Mette Juul
Mette Juul, Mike Moreno, Lars Danielsson, Ulf Wakenius, Per Møllehøj
Release date: 6 March 2020 (Universal Music)
mette-juul.com/music

REVIEW: ‘Thought You Knew’ – Snowpoet

ThoughtYouKnew

THE IMMERSIVE experience of Snowpoet’s eponymous 2016 debut album left a lasting imprint…

Read my full review at LondonJazz News.

Released on 9 February 2018 and available in CD, digital and vinyl formats from Edition Records at Bandcamp.

 

Lauren Kinsella vocals, backing vocals, lyrics
Chris Hyson electric bass, double bass, piano, synths
Nicholas Costley-White acoustic guitar
Matthew Robinson piano
Dave Hamblett drums
Josh Arcoleo saxophone
with
Alice Zawadzki violin
Francesca Ter-Berg cello
Lloyd Haines drums, percussion (tracks 1, 2 and 7)

Produced by Chris Hyson

snowpoet.co.uk

Edition Records – EDN1105 (2018)

‘Lifecycles’ – Engines Orchestra + Phil Meadows Group

Lifecycles2

LAST SUMMER, saxophonist and composer Phil Meadows released his quintet album, Engines of Creation – a remarkably accomplished debut from a musician whose ambition and drive are clearly on course to earn him a place in the upper echelons of the London jazz scene. Confirmation of his achievements to date (including continued involvement with NYJO), as well as recognising his potential for future success, have come via two accolades: Parliamentary Jazz Newcomer of the Year and the Peter Whittingham Jazz Award.

Phil Meadows’ larger scale project, Engines Orchestra, is an ambitious group of twenty young London-based orchestral musicians who, directed by Matt Roberts, collectively seek to challenge conventions through stimulating, cross-genre, written and improvised music. For this debut recording, Meadows has created his colourful and unpredictable Lifecycles suite which melds the diverse textures and dynamics of both orchestral and quintet sound worlds, pressing into action again his Group colleagues – all rising stars in their own right – Laura Jurd (trumpet), Elliot Galvin (piano), Conor Chaplin (basses) and Simon Roth (drums), plus adroit vocalist/violinist Alice Zawadzki.

The fusion of jazz soloists/bands with orchestra is, of course, nothing new – one only has to look at the seminal late-’50s/early-’60s projects of Miles Davis and Gil Evans, right up to Trish Clowes’ exciting new release Pocket Compass. Such a concept has never been without its critics as, in unaccomplished hands, it can become a laboured, incongruous, cold exercise – but, thankfully, recent collaborations have proved to be both sophisticated and organic, highlighting that there is still much to be discovered and achieved by breaking down perceived barriers. “Lifecycles“, the composer describes, “explores a series of situations that we all experience. The people we meet, love and lose shape our emotional responses” – and the result becomes increasingly captivating.

Missing Days, which opens the ten-track sequence, bustles to the brilliance of the orchestral scoring (a motivating woodwind ostinato here, a brassy stab cluster there, and tight, chattering strings and percussion). Combined with the characteristic fervour of Alice Zawadzki’s vocal delivery – “Sunrise breaks in the morning, people sleep through it all, missing out on the beauty of the time daybreak falls” – and the inspired placing of Tori Handsley’s harp, the piece takes on something of a ‘swinging Sixties London’ busyness; Meadows in no way takes centre stage, preferring to judiciously infuse the arrangement with lyrical alto until it all degenerates into cacophonous disorder. Lifecycles displays a broad, cinematic approach with a memorable brass-bold theme which evokes the pomp of Buddy Rich’s spectaculars, and improvisational meanderings add to the sense of the unexpected, as does the quirky, inventive openness of miniature The Spark. The written and the improvised are strikingly cross-pollenated in Intoxicated Delirium, an exciting showcase of near-perfect orchestral and band fusion, the brash energy reflecting its title – get it on repeat play!

Hallucinogenic Euphoria hints at the prog world of Pink Floyd, the Indian inflections of Elliot Galvin’s piano strings, as well as orchestral strings, mingling superbly with Meadows’ echoic soprano; and the abstract beauty of Prelude easily suggests Bartok and John Tavener. Balmlike harp over desolate, searing, portamento strings in Remembrance seem to speak (in this First World War centenary year) of tentative, rising hope, the development becoming impressively filmic with the addition of Zawadzki’s hard, soulful vocals.

Celebration effervesces in its scored/extemporised balance, Galvin’s unabashed piano bravura all part of the joy; and Laura Jurd’s bluesy trumpet prompts a four-square rockiness from the entire assembly which is irresistible and full of character. Jarring interlude Strife of Life explodes and then relaxes to Jurd’s lead before Twice The Man closes the suite – at almost nine minutes, it’s an impassioned, anthemic piece of writing which erupts into a huge Latinesque party, Meadows’ swirling soprano and Zawadzki’s pliant voice playing host to this unrestrained magnificence!

Keep a keen eye on Engines Orchestra’s progress – a great initiative which is set to include workshops, ensemble performance platforms and artist development programmes, all with the aim of engaging communities of young musicians. And congratulations to Phil Meadows for his vision – a refreshingly different musical approach. Finally, a nod to Oli Bentley (split.co.uk) for the orchestra’s beautifully minimal ‘pulley’ branding, as well as the album’s neatly considered sleeve design.

Launching at Kings Place, London, on 22 November 2014 (as part of the EFG London Jazz Festival), and with a general release date of 24 November, Lifecycles is available from the Engines Orchestra’s Bandcamp page.

 

PHIL MEADOWS GROUP
Phil Meadows composer, saxophones
Laura Jurd trumpet
Elliot Galvin piano
Conor Chaplin double bass, electric bass
Simon Roth drums, percussion

 

eo_60

ENGINES ORCHESTRA
Matt Roberts conductor
James Davison trumpet
Eddie Morgan French horn
James Buckle bass trombone
Jennah Smart flutes
Rob Cope clarinet, flute
Gennie Joy bass clarinet, clarinet
Tori Handsley harp
Emily Davis 1st violin (principal)
Tom Aldren 1st violin
Alice Zawadzki 1st violin, vocals
Katherine Waller 1st violin
Minn Majoe 2nd violin (principal)
Kirsty Lovie 2nd violin
Claire Sledd 2nd violin
Connie Chatwin 2nd violin
Matt Maguire viola (principal)
Joe Fisher viola
George White viola
Zosia Jagodzinska cello (principal)
Gregor Riddell cello

 

enginesorchestra.com

Engines Imprint – E1001CD (2014)

‘China Lane’ – Alice Zawadzki

CDWalletCrescent_DW-WithSpineNew.pdf

FROM THE DELICATE opening riff of this debut release, singer, songwriter, violinist and pianist Alice Zawadzki has me enraptured. A number of years in gestation, China Lane offers a unique and pleasantly beguiling approach to jazz, folk (call it what you will) which is enduringly irresistible.

Comprised mostly of originals, this collection can be curious, unpredictable and maybe even eccentric – but it is this bold individuality which sets it apart. And, with the immense musicality of friends such as Kit Downes (Hammond), Alex Roth (guitar), Jon Scott (drums) and Andreas Lang (bass) on board, as well as strings and associate voices, this is a magical journey with a breadth that takes in stories of love, tenderness, desolation, discord and mischief. Zawadzki’s assured vocal delivery – heard also in Moss Freed’s excellent Moss Project (album review here) – is, for me, redolent of the invention of Annette Peacock and Björk, with a touch of the light, new-age folkiness of Sally Oldfield – yet it also possesses a rich and passionate depth which particularly comes to the fore in the two arrangements here of traditional Sephardic tunes.

The breathy, brushed, folksy opening number Ring of Fire, featuring Zawadzki’s clear lead vocal and mysterious violin melodies, is the perfect example of the twists and turns to be found in these entertaining fifty minutes. Kit Downes’ distinctive scratchy Hammond gradually nudges further into the proceedings against the sustained wash of Alex Roth’s guitar until, with rapid gear change, Andreas Lang’s double bass signals the glorious blues-jam conclusion, Downes and Roth underpinning Zawadzki’s playful scat-like vocal improvisations which, in the end, seemingly catch them out (to their audible amusement!). Cat is described by the composer as a modern fairytale in which “the ghost of a murdered feline finds its way into the body of a woman with excellent consequences”, the laboured push-pull rhythm provided by Jon Scott and sinewy effects from Downes and Roth – plus close, soulful harmonies – adding to the fantasy. Again, the mercurial nature of Zawadzki’s writing triumphs, Downes turning in a characteristically showy solo.

Indome Para Marsilia (arranged by Alex Roth) whirls and gyrates to its mesmeric folk melody, led by hard percussion and pulsating bass, giving Zawadzki the opportunity to reach vocal highs (Roth’s guitar a key element). Dicho Me Habían Dicho, the more introspective of these two traditional tunes, burns slowly and mystically, Shirley Smart’s typically gritty, wailing cello against Alex Roth’s harmonics enhancing Zawadzki’s brooding tones. The horizontal string-shimmering effect of Low Sun; Lovely Pink Light – with chromatically-climbing harmonies from Zawadzki, Emilia Mårtensson and Fini Bearman, plus Roth’s chorused guitar against Andreas Lang’s resonant bass – is heartstoppingly gorgeous, its rising, crescendoing impressions recalling a Danish winter sunrise. Emotional in other directions, nine-minute You As A Man reveals a tangible poignancy, Zawadzki’s lyricism perhaps at its height (“It’s like selling your feet to make money for shoes; using blood to wash your wounds”). The constant swell and diminuendo of Downes’ Hammond chords provide intrigue to this spiky and discomforting tale of obsessional love, and the whole band’s interpretation of Alice Zawadzki’s intentions match her dramatic vocal expression.

The urbanity of Manchester, including the buses which pass behind the stage of Matt & Phred’s jazz club, provide the subtle background ambience for the closing title track which reflects Zawadzki’s affection for and association with this northern city. Singing at the piano, accompanied by string sextet, she nostalgically paints images of the red sunset-tinged brick buildings of narrow China Lane in the album’s most commercially anthemic number.

As enchanting to experience ‘live’ as in this fine recording, Alice Zawadzki is most definitely one of contemporary’s jazz’s stars of the present and the future, possessing, as she does, remarkable musical dexterity and personality. A fine solo album debut.

Released on Whirlwind on 16 June 2014, further information and purchasing can be found here.

 

Alice Zawadzki voice, violin, piano
Alex Roth guitar
Andreas Lang double bass
Kit Downes Hammond organ
Jon Scott drums
Shirley Smart cello
Emilia Mårtensson voice
Fini Bearman voice
with
Eva Thorarinsdottir violin
Steve Proctor violin
Lucy Nolan viola
Tanah Stevens viola
Peggy Nolan cello
Rosie Toll cello

alicezmusic.com

Whirlwind Recordings – WR4647 (2014)