(June 2010) As a resident of the land down under I thought it apt that for my
first contribution to Igloo I was offered the chance to review a
release on an Australian label. Perth based Hidden Shoal have been
releasing pretty consistently since 2006, and against a backdrop of a
solidly patriotic local music scene have a refreshingly diverse roster
of artists from around the globe. So too with this release then as
Boxharp, a.k.a. producer Scott Solter and vocalist Wendy Allen, in
fact hail from North Carolina. Not that you’d fathom that from this
release though, for the past few weeks The Green has been my
soundtrack for a trip back home to the UK and it feels to me like it’s
much more at home in the wilds of England than either the Southern US,
or deepest Western Australia.
Following “Paper Boats,” a short ambient intro piece, we get the first
taste of Allen’s vocals straight away with the “The Green,” chosen as
the first single from the album. A somewhat abrupt start has lolloping
drums come drifting in, followed shortly by the wonky pianos and synth
stabs which offer a nicely controlled accompaniment for the steadily
rising vocals which weave Allen’s layered harmonies with repeated
lyrical themes. As quickly as it arrives it’s gone too. No long
ambient fade-outs here! A sign, perhaps, that Boxharp has the
discerning radio listener in their sights with this release?
Unfortunately, whilst it’s a nice way to spend 3 1/2 minutes, for me
this track doesn’t quite have what it needs for pop anthem status
though.
From here on in this is a different release altogether, shifting
between gentle yet slightly unsettling ambiance and new wave-ish pop,
sprinkled throughout with vocalist Wendy Allen’s ethereal folk tales.
Tracks like “the moon’s the north wind’s cookie”, and “Rootfire” are
pure 90’s ambience, whilst the rest of the tracks are a strange
mixture of styles juxtaposed against each other with varying degrees
of success. “Wooden Music” has warm ambience coupled with darker
synth-scape, and 80’s Sylvian-esque drums. “Scarecrow’s lament” puts
muted military drums, with metallic harp or piano string/zithers and
sweeping strings, and along with “Cloy” feature Allen’s (and
occasionally Solters?) repeated harmonised lyrics.
It is indeed the lyrics, and the vocal style that offer the most
intrigue with this release. On tracks like “Leatherwing Bat” and
“Hick’s Fairwell” we are treated not only to an accent as
traditionally folky as Fairport Convention or dare I say it, Steeleye
Span. We are also sent on some pretty interesting lyrical journeys
culminating with “Field Stones,” which I’m pretty sure has Elvish, or
some other suitably folk-some dialect, thrown at its peak.
The standout track for me though is not the single “The Green,” but
“Sidestepping”. this is definitely folk, but it is also very credible
pop music. The vocals are very much in the mould of Tori Amos (or even
Kate Bush), but with that English folk voice still floating around
too, whilst organs and bass, coupled with a solid drum track drive
the instrumentation. It is conventional, but it definitely works.
As I finish this review I note that The Green has made it to the US
college charts. Against the seemingly relentless flow good, but
similar, neo-folk releases, might it just be possible that this
strangely literal mix of traditional and modern music offers an
engaging take on what folk means these days?
The Green is out now on Hidden Shoal. [Listen | Purchase]
