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fRoots magazine is the essential resource for folk, roots and world music – local music from out there. We’ve always been central to the UK folk scene and were the pioneering, original world music magazine from year zero. We constantly support new young artists while celebrating the established: joining up the dots.
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quently redolent of traditional folk songs – “Oh where are you, my darling one… Oh I have gone, my sweet one” (The Love I Want) “Many a mile lies between the time of our parting…” (Bright Things).
Kraus and Chadwick are two intriguingly distinctive individual artists, from very differ- ent musical backgrounds. As Rusalnaia, their profound personal empathy has produced a bewitchingly powerful album.
rusalnaia.com Steve Hunt
KAELA ROWAN The Fruited Thorn Shoogle 16016
Now this is an exquisite, deli- cate and fluttering creature of a record. Kaela, Gaelic and English language singer, for- merly with Mouth Music back in the day and now with Shooglenifty, takes on some well-trod classics of the reper- toire. A bold move, but one
she owns with both subtlety and conviction.
Her voice is at points brittle, cracked even, and at others flowing and powerful. It works beautifully in the two collaborations with powerhouse Rajasthani vocalist Dayam Kham Manganiyar, delicately interplaying with her fragile renditions Gaelic Eilean Fhi- anain and Griogal Chridie. The emotion con- veyed is exquisite and raw.
In her choice of Now Westlin Winds, As I
Roved Out, Mary & The Gallant Soldier, among others from the trad canon, her formative musical reference points are clear, but her takes on them are convincingly original. She tellingly quotes Sheila Stewart: “You search and you find your soul and you put that into the singing.” And Rowan’s soul soars here; her storytelling is captivating and artful. And I mean to the point that I stopped breathing at one point during the vocal interplay bet - ween her and Jarlath Henderson on As I Roved Out, such is the intensity of the delivery.
She and partner James Mackintosh have also made some canny arrangement choices and pulled in some briliant players, from the uplifting pipes and whistles of Jarlath and Griogair Labhruidh to the ineffably lovely fid- dle playing of John McCusker and Patsy Reid. Mackintosh is the go to percussionist for good reason, and the other key player here, Ewan Macpherson, adds depth and texture with his mandolin, guitar and jaw harp.
Really notably, the production is totally sympathetic, allowing song, singer and player to bathe in warmth and space. Subtle, evoca- tive – and a total killer of a record. Pure beau- ty!
kaelarowan.bandcamp.com/
Kate Drummond
AFENGINN OpusWestpark Music 87315
Forty days and forty nights. For Kim Nyberg, the composer/leader/mandolin player of Den- mark’s Afenginn, it wasn’t a time of tempta- tion, but inspiration. Stranded in Tasmania with a ruptured left plantaris tendon, he hit a music streak and wrote most of Opus, 83 min- utes of music spread over two CDs. Afenginn has never been short of ambition, but this is a high point: what’s effectively a modern sym- phony in four movements, drafting in guests beyond their own seven-piece line-up. Mostly instrumental, there are four vocal tracks, with lyrics in an invented form of Pig Latin.
It’s music that owes allegiance to no coun-
try, often seeming rootless, yet drawing from so many strands – a hint of modern jazz at the start of disc two, some 19th Century lyri- cism on disc one. Layered rhythms at the very
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