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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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THOM ASHWORTH Hollow Thom Ashworth


Thom’s a singer and bassist hailing from Hampshire but based in London. Until very recently, his name was unlike- ly to be familiar to anyone outside the ambits of hard- core/emo/prog/indie (he played in the bands Our Lost Infantry and Revere), yet his


formative years were spent immersed in folk festivals and pub sessions. Last spring, Thom released a much-lauded debut EP, Everybody’s Gone To The Rapture, shortly after gaining attention opening for Dublin folk miscreants Lankum (then Lynched) and performing at Cambridge and Leigh Folk Festivals. The EP was an exciting calling-card; characterised by Thom’s powerful tenor voice and striking inno- vative, percussively driven and stripped-back musical arrangements, it contained a brace of moody trad-arrs, a bold original composition and a well-matched cover.


Hollow continues in a similar vein, this time bookended by the traditional numbers – a thumpingly syncopated High Germany and a lyrical, plaintive, honest take on Work Life Out To Keep Life In (which you can hear on fRoots 68 this issue). The sandwich is filled by two increasingly impressive, and slightly scary, Ash- worth originals: Crispin’s Day and the distinctly traditional-sounding, if cryptic, title song. The unusual backdrops on Hollow, while still finely detailed and comparatively sparse, are at times slightly more layered than on the earlier EP, with more use of looping and chordal tech- niques. Intriguing and effective.


Another rewarding, if unduly brief and tantalising collection (in the absence of a full album): further evidence that Thom’s a vibrant new voice-to-watch on the folk scene.


thomashworth.com David Kidman


IMARHAN Temet City Slang SLANG50135P


Temet is the second release by Imarhan. They have been around since 2008 and ini- tially their music was influ- enced and supported by the mighty Tinariwen. However, this new release departs from the meditative desert blues of their previous album


and is far more representative of their live performance, bringing large slabs of classic rock and funk into the mix. The release opens with the Santana-like Azzaman which is also available as a single. Track two Tamudre teas- es us with a Tinariwen-style opening before launching into funk-driven fuzz guitar. Not so with Tarha Nam which is pure desert blues and a reminder of their roots. There is more funk again in Ehad Wa Dagh, fast and furious.


Tinariwen’s influence re-emerges on


Imuhagh, however, supplemented with a fan- tastic tremolo/fuzz/delayed lead guitar which takes us out of desert blues and into the realm of space rock. More funk meets hard rock on Tumast with a driving guitar which I bet is a killer live – guaranteed to get the audience up and dancing, frenzied and magnificent. The last two tracks are acoustic and reminiscent of their first release, packed full of roots and a lead vocal which is sugar and sand in equal quantities.


Try and get a listen to Temet, better still catch Imarhan live. They are a new and wel- come take on the desert blues format. You will not be disappointed.


cityslang.com Mark T


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