Fleet Foxes and Gentle-man Robin Pecknold in Wolverhampton

Posted on June 24, 2011 by haymoncollins

Fleexes

The Bees

Its was almost exactly two years to the day since @IDSupremo and  I saw FF at the same Civic Hall venue in Wolverhampton. Then, as my post at the time said, it was sweltering hot and the death of  Michael Jackson was announced from the back of the hall. This time it was a grey June evening, threatening to rain, with a rather more fervent crowd that arrived early to queue in the odd fashion that the venue dictates.

Despite the greater crush and push from a crowd that befits a band that has ‘arrived’ we never the less claimed our rightful spot at the bar, up front. Support was from Ventnor’s finest, The Bees, who have played with FF several times now and are clearly something of a favourite for FF. I have to confess to not knowing them very well and their rather eclectic style, part garage, part psychedelic, part indie with a healthy dollop of Spanish/Latin flavour as well. Songs like Punch-bag (from way back in 2001), and the more recent Better Days (2008), stood out for me, along with last years I Really Need Love. But tell me something, how come all the band members seem equally at home on all the instruments, by the way, big man Tim Parkin (I think, I hope!) really gives it some welly on the trumpet  – seems they are interchangeable between keys, skins, strings and vocals… such ability surely can’t be legal now can it?

Fleexes came on in the habitual, slightly shambling but endearing manner, not for them the overblown grand entrance. In what became the flavour for the evening, Robin Pecknold started with thanking The Bees before even playing a note, hoping that ‘no-one dies tonight’. The chap behind me proclaimed, ‘He’s a fu**king legend, what a gentleman’ – and verily sire you are right, a gentle-man he is. Throughout the set he looked slightly taken aback by all the attention, embarrassed ‘thank you’s abounded, but given their extended touring schedule he must be used to such rapturous receptions by now. The set was a nice combination of new and old. I must admit to not really having taken to Helplessness Blues as readily as I had hoped, but as ever, seeing material live cements stuff in, and it’s all ‘speaking’ to me a lot more now.

As you would expect all were consummate professionals – in addition of course to front man Robin Pecknold’s trade mark vocals (despite the journey through puberty he felt  he was taking during the evening) and acoustic guitar, Skyler Skjelset put in some excellent, understated guitar and mandolin, and Christian Wargo great bass and harmonies. But I couldn’t take my eyes off of Josh Tillman, he was a revelation, his drumming was never less than outstanding, fluid and precise. Tillman gave the how show a different feel from the times I seen Fleexes before, he drove it along, adding power with an urgency and insistence. Material such as the Foxes could, were you not careful, slip into the twee but the muscularity of the show just showed how close harmonies, deft melodies and expert musicianship can still combine to provide music than is determinedly contemporary but interlaced with the grounding elements of the traditional.

By the way anyone who hasn’t tried J Tillmans solo stuff should go check it out straight away – he’s no one trick pony and worthy of greater solo acclaim than he has had (in the UK at least) so far.

Eventually some bright person will post the set list but I didn’t manage to enjoy the superb show and note the set details at the same time. But they did close the main set with the brilliant Blue Ridge Mountains, perhaps my favourite song, before returning for Robin Pecknold to deliver Oliver James to an excited crowd (my little vid embedded below – another of Montezuma segued with He Doesn’t Know Why can be found here), and then Helplessness Blues itself to round off an outstanding show.

PS some of @IDSupremo pix on his Flickr here

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Bon Iver – Bon Iver

Posted on June 20, 2011 by haymoncollins

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There are already a squillion reviews of the new Bon Iver album, many much more erudite and insightful than I could be, and so I will share my sense of anxiety and trepidation about this new release.

This is the second release in a short period that represents the artist in question’s sophomore album- first there was Fleet Foxes and Helplessness Blues and now just a few weeks later is Bon Iver’s, Bon Iver. Of course second albums have that ‘difficult’ reputation and neither of these suffer from that problem – that is ‘difficult’ in the ‘not-very-good’ sense. For me the ‘difficulty’ lay not in the possibility that the music might be a bit duff but more in the fact that I, like many others I suspect, had invested so much in the initial albums, possibly too much.

The risk lies in the chance that these second albums might somehow erode or diminish the significance of the first, that by releasing another set of material I would have to re-assess and adjust my entrenched views, re-appraise the aura of semi-sanctity that I had surrounded the albums with. Absurd I know, they aren’t the first bands to have a second album, but such is the place that these two ‘first’ albums had secured.

If truth be told Helplessness Blues from Fleet Foxes has so far fallen a little short for me. There is much to like, some sections are indeed very good, but I have this nagging feeling that overall the second album struggles to climb out of the shadow of its older brother. Many people may disagree with me I am sure and in time maybe I will feel differently about it myself.

The Bon Iver album on the other hand has managed to keep hold of all the qualities so beloved of For Emma, Forever Ago but doesn’t feel like it is trying to live up to the first born. Perhaps the trick lies in the luscious production so different to the chill austerity of the first, or maybe the augmented sound, the additional layers of instruments, the depth of the sound stage?

Whatever it may be, I have taken away from the first few listens to the new album the same sense of excitement of a newly discovered treasure, the sense of something special and, well, rather precious. That’s quite a feat in my book, to rise to the expectations pitched so high as a result of an unexpected and wonderful debut, and not to fall short, but perhaps to surpass the achievement of the first. This is a fine, fine collection of music and if in November they can pull off a live show as great as that as the Bristol Trinity show of September 2008 (!) then there is God in heaven and all will be right with the world.

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Apparitions at the Kenmore Plantation – Sacred Harp/Daniel Bachman

Posted on June 16, 2011 by haymoncollins

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Every now and again kind labels drop me a line pointing me at a new artist or two and, where I can, I am happy to oblige and I pen a few words. Most recently the enigmatically named Morgan and Onito (sounding a little like an exclusive  gentleman’s outfitters) from Hands in the Dark Records dropped me a note about one of their artists.

Daniel Bachman also goes under the moniker of Sacred Harp but either way this 21 year old from Fredericksburg, Virginia is an astonishing finger-picking player of the guitar, banjo and sitar. At times like these I wonder how someone so young gets to be so accomplished, it just doesn’t seem quite fair somehow.

Bachman released a six track album, Apparitions at the Kenmore Plantation, as a self produced vinyl product at the back end of 2010. It garnered praise in the US through the likes of Altered Zones and quickly sold out. It is now due to be re-issued as a (very) limited CD version through those good people at Hands in the Dark Records and can be pre-ordered through their Big Cartel pages.

But this is no simple Americana based guitar stuff full of clichés like a Deliverance soundtrack. Across the six tracks here Bachman manages to infuse his music with an array of sonic references: the sustained drones you find in several cultures but most obviously for me in the Scottish canon; to sitar-led ragas from the Indian sub-continent and late sixties style psychedelia. But at the heart of it all is that unmistakable American guitar music. Here is a young man who would seem to sit comfortably alongside the likes of Robbie Basho; a pioneer of steel stringed acoustic guitar music in the States whose influences included Indian Sarod playing and who sought to get the steel stringed acoustic accepted as a concert instrument.

The tracks manage to summon up images of the wooded hills, the southern vistas of Virginia. There is a real sense of the shamanic and the primitive, something oddly spiritual, a directness and an honesty all the more remarkable from someone so young. Despite the accessible beauty of tracks like Rappahannock, this is not an entirely easy set, Ditch Duets could never be said to be gentle on the ear, but taken as a whole Apparitions has an un-refusable urgency and Bachman plays with an absorbed and absorbing passion that is seldom heard.

With a curiously tiny digi-pack production of 50 copies due for release on 28th June, you will have to be quick to get your hands on one, but try you definitely should. Whilst Daniel Bachman’s Sacred Harp is not to be confused with the sacred, traditional choral music from the southern states, I for one find something insistently spiritual here, a refreshing counterpoint to the swaths of musical ephemera that assaults our ears. Bachman is currently touring right across the States with Ryley Walker, a fellow guitarist, alongside Veedon Fleece (no not the Van Morrison album) and Mike Collins (Prince Rama) on what seems to be a marathon tour. There is currently a little four track download Of Deathly Premonitions, available via the Dying for Bad Music blog (though other routes may also take you there) which, although different to Apparitions, is still worth the listen.

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Scott Matthews – Wolverhampton

Posted on June 12, 2011 by haymoncollins

Scott Matthews 


Oaken Lee

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It is almost two years to the day since @IDSupremo and I turned up for the first time at the small but beautifully formed Newhampton Arts Centre tucked away in the back streets of Wolverhampton to see Scott Matthews. Here we are again, this time with both Mrs IDS and Mrs HC in tow, neither of whom really understand the anxiety to be first in line to get a spot right at the front. Truth be told, in a room of probably 150 max people you are never far from the action but our table for four, centre stage, right up front, was what it was all about.

We had heard the strains of support band, Oaken Lee, through the door as we waited, and their set didn’t disappoint. Jake Flowers on guitar, vocals, kick drum and foot activated tambourine, and Will Gauden on bass and harmonies, the pair hail from Worcestershire/Shropshire way, Cleobury Mortimer was mentioned, and although Flowers has been performing under his own name for a while, the pairing is relatively new (Mr Flowers previous stuff can be heard through Myspace). They played a bunch of stuff from their soon to be released EP, The Man I’ll Be, plus Flowers previous single, Small World (the remnant 7″ vinyl stock of which was both available and purchased from the merch table). Flowers has a sweet voice and the playing from both was suitably restrained but fluent. The new EP is available now for download from their Bandcamp site for the pittance that is £3 (T-shirts also available), but cognoscenti such as I (!) were able to cough up a fiver on the night for an immediate download and an old stylee CD to be mailed as soon as they are ready. They played a really enjoyable their set so here’s hoping the EP does well for them – eminently worth catching if their cruise your way.

Having seen Mr Matthews a few times now he never fails to delight but it is in the format of tonight where, for me at least, he excels – just himself and the assorted guitars, bolstered by the twin talents of Greg (please someone give me his last name and any relevant links…) on electric guitar and Sam Martin on sundry percussion. These two young feller-me-lads did that most difficult of things – played with consummate ease and ability, contributing some most excellent guitar work, be it reverb drenched or slide, and tabla (I think!), hand played cymbals and steel brush work; without detracting from the Man himself – really both lads were most impressive.

Clearly as a warm up date for the autumn tour the evening was in part a try-out for the new songs, and indeed this was no small part of the charm. I suspect that the carefully built intro from Greg and Sam should have let Mr M saunter on stage, pick up his guitar and slide into the opener, Myself Again, but of course the best laid plans… Matthews said at one stage that he would love to be slick on stage but can’t manage it. But it isn’t that sort of show you expect, what makes it so successful is actually the endless tuning, calls for ever more reverb, a bit more guitar in the monitor please and so on and so forth, all of which punctuate the sparkling brilliance of the songs and their delivery. Its the total contrast between the “what-do-we-do now?” on stage banter  and the soaring elegance of the material (by the way – I wonder if the errant guitar did make its promised meeting with the wall?).

The twelve song set was a welcome slew of new songs interlaced with favourites like Dream Song, Eyes Wider, and Passing Stranger. A few of the new songs have had earlier outings, Ballerina Lake for instance was played at the Slade Rooms last December, but on hearing them together here, there is a welcome sense of return to the spirit of the Passing Stranger album, an intimacy that sometimes felt absent on Elsewhere for some reason. It is Matthews extraordinary vocals and playing that his supporters are drawn to most, both the setting and material tonight let those flow through in abundance, I do hope that his autumn dates will see him in a similar mode and not engulfed by a more muscular band setting.

The new album, What the Night Delivers, promises to be full of fine songs. Matthews was visibly  a little anxious about performing the new material, and I guess it must indeed be strange to work on material for so long and finally have it ready to hand over to the masses, wondering how it will be received. If the reactions of the select crowd in Wolverhampton were anything to go by he should harbour no such worries. An evening of the most sublime music – there are many good musicians out there for whom we are all duly grateful, but then there are others who scale even greater heights, Mr M is amongst them.

Of course@IDSupremo was almost overcome with excitement, made a grab for and got signed a set list, had a good chat with the great man himself and secured a groupie shot for the archives – but you would now, wouldn’t you?

A selection of flaky pix from me are on my Flickr account and similar from IDS on his. In addition to the little vid below a couple more are on my You Tube channel – hope Mr M doesn’t mind too much and apologies for the less than professional quality – homespun is the word.

The Man Who Had Everything – Scott Matthews, Wolverhampton 11 June 2011

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Náttfari

Posted on June 11, 2011 by haymoncollins

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First formed ten years ago, Iceland’s post-rock/ambient rock band Náttfari  are back together again. By the way it seems that Náttfari (nightwalker) was a slave who escaped his master and became the first permanent resident of Iceland… thought you might like to know. In their previous incarnation thre were a few EP’s and apparently lots of shows that I never got to see, but they never finished a full length album set. It seems that is about to change, with an album close to completion and due for release later this year.

The bands line up has changed a little, having lost Rúnar Sigurbjörnsson on guitar, who is now replaced by Ólafur Jósepsson from Stafrænn Hákon. Two band members, Nói Steinn Einarsson and Andri Ásgrímsson, formed another band , Leaves, who had quite some critcal success and produced a few albums, albeit of a very different genre, much of which can be heard through their Sound cloud pages.This (Stafrænn Hákon) is the route that I came across Náttfari. Stafrænn Hákon’s rather fine album, Sanitas, came out last year and I penned a few words.

There is still but few tracks to hear from Náttfari, but there are four tracks currently available through their FB pages, with perhaps Dynjandi Leðja being my favourite of those on offer, with its fine bubbling bass line and less obvious take on the post-rock theme.

I am still amazed that a country as small as Iceland can produce so many and such different musicians – of course there are the better known Bjork/Sugarcubes and Sigur Ros brigade, but also Aniima, Stafrænn Hákon and these chaps – all quite different. Iceland too is home to Airwaves Festival with its  predominance of Icelandic bands plus a few more nordic artists and small smattering of US and European bands as well.

On this showing the anticpated Náttfari album should be well worth a listen when it does stagger into the daylight.

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Without a Fight – Fossil Collective/Dark Dark Horse remix

Posted on June 9, 2011 by haymoncollins

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OK, news first, Jamie Ward purveyor of fine sounds courtesy of Dark Dark Horse (whose Centuries album got an honourable mention here) and music producer available for christenings, bar mitzvahs and other social occasions (OK that bit’s made up), has done a number on the Fossil Collective’s track, Without A Fight. The track can generously be downloaded for free from a Pledge Music site or indeed direct from their FB pages – its free, so why wouldn’t you get it? Oh and there’s an animated video to accompany it (below) made up of an edited version of ‘The Mermaid’ by animator Aleksandr Petrov.

Being new to the Collective I wasn’t able to make a comparison with the original version but the sumptuous animation fits rather nicely with the haunting remix of this track. My appetite whetted I dug a little deeper into the Collective, first to listen to the original track which is rather beautiful on its own account. Their EP The Honey Slides was released last summer, and can be listened to from the FB pages and purchased via iTunes if you are minded, and an album is presaged for sometime soon.

Messr Fendick and Hooker produce some gorgeous sounds here and I regret not having got to them sooner. By their own definition they sit in that somewhat crowed space these days labelled indie-folk and comparisons will be made with Fleet Foxes and perhaps more accurately Midlake, not that this is in way way a criticism.

There is always a little space in my listening pleasure for music such as this, and how nice to be able to look a bit closer to home than the more frequent glance across the Atlantic. Lets hope that promised album and the trailed animations isn’t too long in appearing.

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Mono and the Holy Ground Orchestra – Koko, London

Posted on June 8, 2011 by haymoncollins

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Koko was the setting last night for one of those unusual concerts, a rare and special event. Mono performing with the Holy Ground Orchestra, only the fourth time this concert has been played these last few years, previously in New York, Tokyo and Kuala Lumpur . Given this is only performed every few years it is likely that this London show may well be the last time this is seen in Europe for a fair while.

It seemed no surprise that the music played in the lead up to the heart of the concert was the astonishing Symphony No 3: Symphony of Sorrowful Songs by the Polish composer Gorecki, one of the most emotionally affecting symphonies; heartbreakingly beautiful music. The addition of a 24 piece orchestra of strings, flutes and percussion to the Mono configuration could only add to the symphonic quality of their music, adding a further richness and nuance to the live performance.

Baffled by perspex screens as shelter against the amps, it is true that initially the value of the orchestra was not clear. Where it really came into its own was with some of the quieter songs, often the shorter ones that can often be left out of a more normal Mono gig. On these more delicate moments the strings were used to fill out and broaden the sound without overshadowing the lead melodies. So the orchestra worked, increasingly, well in many area but was predictably least effective for the more monumental sections. Overall however the added orchestra conferred a greater sense of drama, helping to build the concert into a special, noteworthy occasion.

In terms of the material played it followed, if I am not mistaken the order of the Holy Ground DVD making the set list as follows:

1. Ashes In The Snow
2. Burial At Sea
3. Silent Flight, Sleeping Dawn
4. Are You There?
5. 2 Candles, 1 Wish
6. Where Am I
7. Pure As Snow
8. Follow The Map
9. Halcyon (Beautiful Days)
10. Everlasting Light

With the set comprising much of Hymn to the Immortal Wind, I was struck again by just strong a set Hymn is, how much better it hangs together as a suite of music.  This is truly magisterial music, with its greater use of light and shade reinforcing Mono’s ‘symphonic’ tag. But woven into the Hymn material it was a pleasure to hear items like 2 Candles, 1 Wish and Where Am I.

It is worth taking a moment to reflect on the quality of the musicianship from Mono – its alittle easy sometimes to somehow imagine that the wondrous sounds are thanks to the buttons and pedals and other buts and pieces. Tamaki’s bass playing showed the quality of her technique by putting out the most muscular sounds with the lightest of touches, almost stroking the strings, her elfin figure at odds with the music she produces. You can have noting but admiration and respect for Takada’s combination of the periodic ferocity of his playing and the accuracy and delicacy deployed when required. Both Yoda and ‘Taka’ produce amazing sounds from their guitars and tonight ‘Taka’ created great washes of sound – one track he seemed to run out of things to do after throwing his guitar away, twiddling his knobs and pedals, he  ended up beating the floor with his fists.

Its difficult to know just how much rehearsal time the band and orchestra had had together, at some points it appeared difficult for conductor to follow proceedings, so the percussionist showed the beat from the back, where he had a better view of the band. The end of the concert was slightly surreal, a bizarre music track and confusion over whether there might or might not be an encore (there wasn’t). But despite any difficulties, the ninety minutes flew past, a set of glorious music in amn exceptional situational. Tracks like Halcyon were outstanding  but it was the likes of Pure as Snow and Everlasting Light that were the most transcendent, uplifting and euphoric. A remarkable band, remarkable music and an evening to remember. Young @binmouth, the Fair Nicola and I left Mornington Crescent having witnessed a special occasion and wended our way back to Paddington and the last train to Bristol .

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Wise Children – Two New Tracks

Posted on June 7, 2011 by haymoncollins

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A snatched moment here to flag up two more top notch tracks from the enigmatically named Wise Children. They are both collaborations this time, first Why Did it Take You So Long with Jazz Morley and secondly After the  War with David Walter.

Robin Warren-Adamson aka Wise Children, has been frustratingly mean so far with his output, I know he has been finishing studies, moving and whatnot, but really!… I first encountered his work in November 2008 when he released his eponymous first EP, followed a while later with the slightly longer Absence and Reunion EP, both of which can be found on his Soundcloud site, and both well worth getting your hands on.

He will be supporting Ms Morley in Bath at the Chapel Arts Centre in Bath on June 14th and there are vague rumours of ‘bigger tings’ in the autumn – you can but hope there may  be an album and some dates of his own perhaps? His is music that reinforces the fact that its not state of the art, heavy handed ‘production’ that does the job – but quality song-smithing and performance.

Wise Children and David Walter – After the War

Wise Children and Jazz Morley – Why Did It Take You So Long

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Dark Dark Horse – Centuries

Posted on June 1, 2011 by haymoncollins

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I am massively overdue writing up the few words that I promised some time ago on Dark Dark Horses first album Centuries. It is due for release here in the UK in June (maybe?) after having been released last year in Japan for some obscure reason (if your Japanese is up to it you can get it through Rallye Label). Another band from the Leicester area to sit alongside Maybeshewill, parts of Her Name Is Calla, To Bury a Ghost, Minaars and the rest, there is clearly something in the water over there. Jamie Ward of Maybeshewill  (whose rather splendid album Critical Distance was review here not too long ago) and Kyte and James Stafford of kids in cars have come together here to produce a rather chilled and beautiful album.

I have never thought myself much into electronically tinged stuff but have had to reappraise my position of late what with stuff like James Blake, Gang Gang Dance, Jamie Woon, not to mention some of the above-mentioned bands.

To start with the drum machines and keyboards prepared me for something that didn’t materialise; I was all ready for something rather chilly and impersonal, the less than human contribution of electronics. But much of this set keeps the electronics in it’s place, so to speak, with the vocals and piano nicely upfront, humanising the sound. I have played this through a good few times now and it improves each time. There are elements here, perhaps the vocal styling, the gentle instrumentation, that reminds me of a band that has claimed a corner of my heart, the improbably named Undertheigloo whose two albums have, to my mind, been sadly overlooked. I hope the same doesn’t befall Dark Dark Horse, they deserve better .

There is a danger that music such as this doesn’t pack enough immediate punch and so might not win the few listens that it demands to get under your skin with it’s rippling piano lines, twinkling and carefully placed electronic under currents and melancholic vocals. The slightly mournful sentiment that runs through the set was in perfect synchronisity with the stair-rod-downpours, punctuated by sun bursting through for brief moments, for which this album provided the soundtrack, as I scampered around the streets of London today.

Much of this album is very good indeed, but tracks like Mercury Nevada have a particular haunting and delicate beauty to them that helps them to stand out. In many ways it is the simplicity of the songs, the lack of crushing overproduction and heavy-handed effects that ensure that this set remains light but still with the capacity to captivate.

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Andy Cutting – Ruskin Mill, Nailsworth

Posted on May 26, 2011 by haymoncollins

Andy Cutting

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Boldwood

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Well here we were again, Mrs H-C and I, in the pleasingly local Ruskin Mill near Horsley, the venue of two school-night outings for us in a few short weeks, this time to see Andy Cutting. Last time around John McCusker encouraged us all to come and hear this ‘musician’s musician’ and to provoke him to play some McCusker material –  I suspect a running joke between them.

But first an unexpected support slot from a trio called Boldwood made up of Becky Price onpiano accordion, Miranda Rutter on fiddle and viola and Matthew Coatsworth also on fiddle. The three were clearly already known to some of the cognoscenti present but were new to me. They played a short but sweet set of 18th century tunes, as is their mission. Much rescued from the obscurity of dusty and forgotten tomes, here is music, as Price says, that represents a period when what we now call folk and classical morphed the one onto the other. This isn’t the twee and fey jiggerty-jig sort of folk music but, as the entire evening showed, music of substance and enduring qualities. Anyone at all interested in the is sort of music should be encouraged to catch them if they can. (apologies for the under-the-armpit quality of the pic – its a very ‘intimate’ venue)

The downstairs space at Ruskin Mill is not conducive to a grand entrance and so after listening to Boldwood from around the corner, Andy Cutting picked his way between the chairs to take his lonely spot. My ignorance is substantial and I hadn’t really appreciated Cutting’s pedigree – of course connection with John McCusker was known but not so his contribution to Blowzabella and his long recording and performing partnership with Chris Wood, his sundry other works with the likes of Nigel Eaton, Kate Rusby  et al. Nor too did I realise that Cutting has twice been BBC Radio 2 Folk Musician of the Year in 2008 and 2011 -well now I know.

Apparently this was only his ninth or tenth solo show and provided the Richard Valentine memorial concert in the Nailsworth Festival 2011. Not surprisingly the set was drawn largely from his eponymous 2010 CD released through, what I  assume is his own label, Lane Records.

He makes much of the fact that he doesn’t write or compose music but just ‘makes it up’ but this rather plays down the extraordinary skill required to just ‘make it up’, and remember it, and play it with the level of virtuosity that he employs. In my rather romanticised view of folk music, Cutting seems to embody my personal caricature of the typical folk troubadour but with a proficiency that must have been rare even in my confection of the past.

Invidious to highlight specific tunes but I was struck by the remarkable quality of both the French Bourées (one of which Chasse Pin is in the vid below and a couple more vids from the evening are on my YouTube space) and the old Morris tunes -how sad that so often this sort of music is not recognised for the beauty and complexity of its tunes. This is not to say that his own are not fine as well, and the well judged banter and conversation between songs both added welcome background and also forged a link between artist and audience – pretty essential when the furthest corner of the room can be no more than 20 feet or so away.

I have to admit to wondering how an evening of solo accordion music would be, but the richness and variety of the sounds from his two beautiful Castagnari accordions, combined with Cuttings personal charm and his abundant skills, make it a hugely enjoyable and rewarding experience.

Andy Cutting – Chasse Pin

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