HIDDEN PEOPLE BY KATHRYN ROBERTS & SEAN LAKEMAN: ALBUM REVIEW

ARTIST: KATHRYN ROBERTS & SEAN LAKEMAN

ALBUM: HIDDEN PEOPLE

LABEL: NAVIGATOR RECORDS

TRACKS: 10

WEBSITE: http://www.kathrynrobertsandseanlakeman.com/

RELEASE DATE: 9^TH JULY 2012

Having been at the heart of the UK folk/acoustic revival from the mid 1990s, the now married duo Kathryn Roberts and Sean Lakeman have been sorely missed these last eight years. The lack of inventive titles for the pair’s first two albums, named simply 1 and 2, never detracted from the supreme quality each offered. Naturally, one would expect any subsequent work to progress even further and Hidden People does not disappoint in the slightest. It transcends so far beyond there isn’t a scale that could support the weight of the lofty lashings of musical finesse produced here. Featuring ten exceptionally produced songs (thanks to Sean), eight of them originals, this third album demonstrates how the extent of the couple’s musical and lyrical abilities are well above even first class.

Opening with the dark yet breathtaking Norwegian folk tale Huldra was an inspired choice. The live version is goosebumpingly spellbinding to the degree it induces a trance-like state. However, and this is a rarity indeed, the largely a cappella recorded version with its perfectly placed interlacing harmonies from guest vocalists Cara Dillon, Greta Bondesson, CarolineHerring and Sadie Lobb, will sweep you to a higher dimension so fast it should be classified as a white knuckle ride. Each Huldra is incarnated by the haunting yet serene and melodious humming of the aforementioned guests as Kathryn sings about the torturous things each one does to its prey should satisfaction not be forthcoming. This combination generates an ethereal sound rendering vivid imagery so striking you’ll be checking for blood stains by the end.

Utilising a diverse blend of styles makes this more than just another folk album. While Oxford N.Y. draws heavily from the Equation days it does so with all the added skills and experience amassed, clearly evident. Hang the Rowan exhibits strong pop beats with a chorus that has a real charismatic cadence in spite of the traditional grim nature of the folk rooted lyrics. 

With many lyrically traditional folk songs, it is refreshing how the end result sounds so strikingly different to what has gone before or from what many may be expecting. This is folk that will be palatable for more mainstream music fans without alienating the diehard folkies.  

Brace yourself when the piano intro starts off The Ballad of Andy Jacobs. If you don’t at least feel the intensity of emotion begin gurgling deep down inside, by the time the heartbreaking song is through it will be an enormous lump in your throat demanding release. This is what real music is and should be about. The sheer force of power behind the moving story of childhood memories accompanied by gentle piano is musical perfection at its best. Kathryn breathes such a richly theatrical life upon often very gloomy songs infusing them with such a soul they grab you by your heart pulling on your emotive strings long after they’re finished. 

The bar is raised even higher as US folk singer Caroline Herring kicks off The White Hind, a supernatural ballad about transmigration of the soul based on a traditional French song. Further vocals from Dave Burland and JimMorray present a multilayered effect building up the song to what becomes nothing short of how a five dimensional aural experience might sound (if we mortals were able to tune into such a thing, of course).

The final guest makes his appearance about half way through Standing At My Window in the shape of The Levellers’ Mark Chadwick. The folk-rock legend provides a suitably subtle yet beautifully husky response to the main vocals against a melody that has clearly been soaked in a bath of rich alternative-country salts. The end result is delightful.

In sum, here is an album with so much depth if one explores it correctly it will be months before you get to the top again. There is so much beneath the inviting surface glittering with golden tracks both authentic and contemporary. The number of modern folk stars who lined up to contribute comes as no surprise with both Seth and Sam Lakeman lending their musicianship and Megson’s Stu Hanna singing, in addition to the many already mentioned.

Kathryn and Sean may not have been around as a musical duo for the majority of the past eight years but Hidden People bursts on to the scene with an almighty bellow of, ‘We’re back!’ and with an album anchoring them down as firmly as this there’s little doubt they are here to stay.

Tracklisting:

1. Huldra
2. Oxford N.Y.
3. Money Or Jewels
4. Hang The Rowan
5. The Ballad of Andy Jacobs
6. The White Hand
7. Lusty Smith
8. The Wisdom of Standing Still
9. Standing At The Window
10. Jackie’s Song

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LISTEN HERE, OH PIONEER!

Oh Pioneer by Duke Special: Album Review.

One listen to Oh Pioneer should be enough to convince you just how special Peter Wilson is. Right from the start the beautifully written album opener, Stargazers of the World Unite (A Love Song for Astronomers) indicates with a somewhat delicate subtlety, the gold plated songs and silver topped music in store from this latest studio album. The introductory synths combine perfectly with layered piano underneath those unique vocals fully engaging the ears while the mind is left to unpeel the myriad layers of meaning. The looping chorus of, ‘How am I gonna get myself to heaven?’ with answers such as, ‘Cut the ropes that keep us tethered,’ combined with the building melody, bury themselves deep within where they will remain resting long after the album has finished playing.

Little Black Fish offers up a thrill ride I’m not sure is quite white knuckle but it tries hard to get there and certainly doesn’t disappoint. Thoughtful and melancholic lyrics give the feeling of questioning life, the universe and everything alongside the use of a hefty mix of musical styles. The diverse underlying tones build up to a crescendo that all of a sudden begins to settle into a quieter contemplation.

Duke reminds me a little of the US singer songwriter John Grant (who I was fortunate enough to catch at last year’s BeautifulDays festival) in the way he demonstrates such raw talents that are nevertheless passed through a huge musical car wash complete with all those big fluffy rollers, the end result sounding so polished and near perfect it should be a crime that they aren’t more well-known.

The stakes are raised tenfold by the time Snakes in the Grass makes its appearance. If songs could talk this one would scream at you demanding your full attention simply because its grandeur commands it! It begins like a futuristic nursery rhyme might do but before long the first booming operatic interjection of ‘Wayward Child’ packs such a punch make sure you’re holding on to something if you aren’t sitting down or you might be blown to Timbuktu by its gale force strength. Reminiscent of Queen’s Bohemian Rhapsody, while it was never going to get anywhere near as epic as that anthem this honestly doesn’t feel in any way an underachievement.

Overall this album is a tour de force of diverse musical arrangement but whereby many out there in Popworld today might use this strength to divert attention away from the lack of quality of their lyrics, Peter lines up thoughtful, contemplative and reflective songs of the highest calibre, one after another.

The lyrics for Condition reveal just how delicate Peter can get. Appearing first as somewhat oddly written it exemplifies how deceptive appearances often are. The clever yin-yang nature of its message roots you to the spot. Who hasn’t experienced the cavalcade of completely polar opposite emotions about the self? This is why it works so well and while it remains one of the quieter tracks it is one of the most profound in terms of scope. The concluding minute and a half pulls it all together so tightly there’s no danger of the perfection escaping. Hearing it for just the second time, the profundity of this track almost knocked me over even with its much softer gentler approach. This song alone for me cements the Special[ness] of this Duke.

The opening of Lost Chord is how I imagine Icelandic masters Sigur Ros may sound if they ever leant more towards indie-synth pop however the song swiftly makes a giant leap back to familiar Duke territory. How I Learned to Love the Sun acts as a somersaulting acrobatic exercise for Peter’s wide ranging vocal abilities.

Although immediate predecessor, Under the Dark Cloth, came as the result of a special project with songs based on an exhibit of photographs, in complete contrast Oh Pioneer is a deeply personal adventure revealing much more of the artist’s personality. Music fans should appreciate there is a talent out there producing outstanding music that not only makes one think a little harder but who can layer it with such an eclectic mix of diverse musical sounds, electronic and acoustic alike. For someone with such a prolific output of work, this being his tenth album overall, if it were a cloud it would result in a torrential downpour flooding the world with its quality.

Perhaps what is most important is that in the current music market, Oh Pioneer offers something that sounds original and isn’t an attempt for the artist to tick the boxes that will afford him fame and fortune. What remains clear is Duke Special is in this for the outlet music affords him in expressing his creativity and that is special all on its own.

Much more electronic and synth sounding than predecessor I Never Thought This Day Would Come and less theatrical (but certainly no less dramatic) than Under the dark Cloth, it would be interesting to see how this particular material translates to a live show. From what I’ve heard so far I don’t have a shadow of a doubt he would pull it off in true style.

Irony can truly be a bitch sometimes and with Duke Special putting in an appearance at Beautiful Days festival this year it saddens me further I won’t be in attendance. This is an artist I absolutely most certainly and definitely want to see so my eyes are peeled and ears are open for future dates.

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Levelling the Land One More Time

So, I have actually made it to a third entry. I’d originally planned to write up this review (review is perhaps not the exact word to describe the rambling) of 2011 gigs as one entry but due to my incessant rambling it is only fair on your poor eyes and time constraints that I break it up somewhat. My own time constraints aside....Oh yes that's right.... Valerie (the banjo playing badger) has just reminded me that with my time machine I shouldn't have any kind of time constraints at all. Thank you Valerie. I can always trust him to stick his snout in. I don't recall asking for his opinion on the matter. I can hear the banjo now, which can mean only one thing - he has some song of wisdom to sing at me. Speaking of wisdom I’ve got to have one of my wisdom teeth out in a few weeks. What, may I ask, is the point in us still having these teeth when the majority of adults have to have them removed due to the issues they cause?

Valerie will disagree but I smell conspiracy at work here. All of these wisdom teeth being extracted. All that wisdom gathering together and plotting the downfall of humanity or some such....What's that?......I suppose you're right there. Valerie just said that humanity needs no help from inanimate teeth.....Nice tune.....I do so enjoy the sound of a banjo, a banjo being played by a badger even more so. It is, as you can imagine somewhat unique.

Where was I? Oh yes, wisdom teeth. They're gathering on mass somewhere out in the wilderness until their numbers are great enough for them to connect together forming as to like a huge figure tall and terrible. Imagine it!! A twenty foot tall monster made out of all the wisdom teeth removed over the last hundred years or so. Several (or more) of such wisdom teeth monsters all chattering towards you. They would have some pretty nasty looking teeth wouldn't they? And don’t even get me started on the five mile radius bubble of halitosis wafting out in all directions. Right, enough!! After that vivid dream where I was being chased by zombies last night without the aid of cheese or any zombie related media I don't think it’s wise to conjure up the image of an army of wisdom teeth monsters this close to bedtime.

The BBC missed out on that one during their brainstorming sessions for old 60's Doctor Who. Think of the money they'd have saved on the props/costumes they ended up using for their alien designs. All they would have required would have been some glue to stick all the teeth together. *Note to self....next time I'm in the early 60's stop by the BBC Doctor Who writing/production team and offer my services*

Anywho, let's get back to sanity (in theory) and crack on with the review before that apocalypse kicks off.


2.) Next up was one of my ultimate favourites The Levellers on their tour celebrating the 20th anniversary of the album Levelling the Land. This was the first Levellers album I was introduced to (as it is for many lifelong fans I expect) in 1997 so it was a real treat to see the band perform it in its entirety for the first time. 

I make an effort to see this band at least once each year (four times in 2010, twice in 2011 and now if I can get my time machine working I plan to nip back to 1992 & 1994 for those early Glastonbury appearances of theirs where the Boatman became the Spaceman) so I think I've seen them play each song from the album over the years. Their legions of loyal fans all come together at each gig like one mass blob of drool that's formed from many lesser blobs. All end up jumping up and down as if we're in an 80's pogo stick competition in some playground in Hackney (It's true (or maybe it isn’t). This moshing is in rhythm to the joyous guitar, banjo, fiddle and vocal sounds, ingredients which combine to make one tasty meal for our ears.

Standing at the bar waiting for a pint of beer I hear a loud drumbeat thud above the din of chatter cutting through the thick heavy fog of anticipation and excitement. The beat thuds again gathering momentum as it picks up the haunting sound of the harmonica. Sirens and horns! It sounds like sirens and horns all from one blow which then latches on to the violin's lament. The fidgety crowd are off immediately. That first drumbeat is enough to engage them. The chatter ceases as they take their places amidst the collective of the blob. All are now one with the band on stage. Needless to say the beer is forgotten as I rush to merge with the collective. Resistance is futile. One will be and is assimilated. I merge and become one with the moshing blob just in time for the vocals to kick in.

This is an iconic album with a clear message that still resonates loudly twenty years on (perhaps even more so in this post post modern era with added double dip recession*). Many will argue the album made and defined the band. I wouldn't agree completely as their first offering A Weapon Called the Word had many similar themed songs. It is true Levelling the Land fermented the overall sound of the band and the phenomenal success of it propelled them into the stratosphere of the music world. That said, they've always been shunned by the popular music media, something that never phases them and for which we as fans are more grateful than not. It has meant we keep our bunch of Levellers as they always were - owing their successes to their hard work, their loyal fans and the more savoury kind of people in the music business.

There really is only One Way of Life and all our friends in all their jobs, it's all a bloody waste. The words conjure visions of the rat race the majority of us find ourselves in just to survive. Mind numbing jobs just to pay the bills and feed our faces. The Game of life continues to play out while the girl from Fifteen Years ago has packed and gone away. I stand here looking across mountains and the valleys deep where I would take my weary feet and if I really could choose the life I pleased then there's little doubt I’d be a Boatman. Now, if only I could afford that barge. Alas, I like most others am not a freeman as there's one too many, two too many holes are getting bigger in the garden wall. If I'm not careful they're going to get to me, to take my Liberty meaning I'm likely to end up so Far From Home with no means of return. 

Whenever I listen to the Levellers, whichever album it might be and wherever I happen to be at the time I do feel like I belong to some ancient race. Yes I like to walk in ancient places (most recently the ruins of Rome and Pompeii) cause these are things that I can understand. The song Sell Out should be used to introduce every party political broadcast during elections or broadcast alongside them as an alternative. 'Your policies have failed the test of time, cause you sold them down the river - o.' So very true.

Another Man's Cause brings a lump to my throat each time I hear it. The message is clear and not aimed at the service personnel but at those in power who make these terrible, seemingly endless and (in most cases) pointless (not including their thirst for oil and/or dominance) wars.

This is a band that has been with me through everything in my adult life. A band whose music I can always rely on to entice the smile back to my face when I'm feeling down so by the end of even one song I'll be itching to jump about like a loon. They continue to provide me with inspiration helping to nurture my creative side, something I am eternally grateful for.

As with ALL of their gigs I've attended over the years this was more like an evening in the company of friends. A sweaty beer filled evening, admittedly but one of complete enjoyment. At the end of each gig I always find myself saying, ‘Bring on the next…’ I’ve seen them in a number of places around the country yet never in my original hometown of Birmingham.

Who knows where I’ll see them next (probably at least at their own Beautiful Days festival) but with a new album due soon I’m looking forward to it.

*at the time of writing it has only been forecast the UK may be heading into that dreaded double dip recession so if it doesn't actually happen this asterisk thing means you can't sue me for incorrect information and all that bollocks. A double dip recession sounds a bit like a new rollercoaster to me (and not metaphorically so).

To follow: Tom Mcrae with String Quartet.