Songlines Magazine (July 2014, #101)

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WELCOME

Songlines Publishing Ltd Eurolink Business Centre, 49 Effra Road, London SW2 1BZ, UK www.songlines.co.uk GENERAL ENQUIRIES & SUBS

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+44 (0)20 7371 2834 james@songlines.co.uk THE TEAM

Editor-in-chief Simon Broughton Publisher Paul Geoghegan Editor Jo Frost Deputy Editor Alexandra Petropoulos Art Director Paul Carpenter Subs & Online Manager Edward Craggs Advertisement Manager James Anderson-Hanney Podcast Producer Nasim Masoud Reviews Editor Matthew Milton News Editor Nathaniel Handy

World Cinema Editor Ed Stocker ed@edstocker.com Production Consultant Dermot Jones Financial Controllers Iwona Perucka & Stevie Good Contributing Editors Jane Cornwell, Mark Ellingham & Nigel Williamson Assisted By Daniel Ansell Interns Marco Canepari & Rebecca Acres

The Polish roots scene has developed in the last decade and is now one of the most flourishing in Europe

Grzegorz Śledź

Listings Tatiana Rucinska listings@songlines.co.uk

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olish Radio’s annual New Tradition competition – the equivalent of the BBC Radio 2 Folk Awards – took place in Warsaw in May and I was one of the judges. Most of the bands who have become internationally known have won prizes at New Tradition – the Warsaw Village Band, R.U.T.A., the Janusz Prusinowski Trio and Čači Vorba (playing at WOMAD this year). It’s incredible how the Polish roots music scene has developed in the last decade and now has one of the most flourishing scenes in Europe. I was on the Folk Album of the Year panel and had to assess a shortlist of ten from a total of over 100 albums released in 2013. When I first visited Poland in 1991, there were only a handful of decent folk CDs available. The scene has expanded immensely. The winning CD was Sefardix, by the Oleś Brothers (a jazz duo of bass and drum kit, pictured right) with Greek Polish singer Jorgos Skolias. Fellow jury member Kuba Borysiak of Polish Radio said the rest of the jury had liked it because it was the first time in years that serious jazz artists had dabbled in folk and the Sephardic repertoire was little-known in Poland. The Grand Prix for the live performance went to Trzy Dni Później (Three Days Later) – a rather unusual group featuring three female harmony vocals, soft and focused, with viola. Very striking. Thanks for all the nice feedback on our 100th issue – and on we march to #101. Don’t forget there’s also our Best of Songlines collection downloadable to iPad or iPhone. See p58 for details. Should you want to go one stage further, there’s a unique opportunity to acquire all 100 back issues. Since the launch, I’ve carefully kept an issue for myself and a second copy ‘just in case.’ But now I’m going to auction the complete set on eBay. Even the Songlines office doesn’t have a full set of issues, so this is an opportunity unlikely to be repeated. The collection will go on sale from June 7. Hoping to see some of you at Songlines Encounters Festival, which runs June 5-7, just when this issue comes out. We have some magnificent artists performing there. Simon Broughton, editor-in-chief

Cover photo Andrew Catlin Printing Polestar Colchester Ltd, Severalls Industrial Estate, Colchester, Essex CO4 4HT. Record trade distribution Worldwide Magazine Distributors, 0121 788 3112. UK newsstand & overseas newstrade distribution COMAG Specialist Division, 01895 433800. All rights are reserved. Reproduction in any manner, in whole or in part, is strictly forbidden without the prior written consent of the publishers. No responsibility for incorrect information can be accepted. The views expressed in the articles are those of the author, and not necessarily of the publisher. While every effort has been made to ensure accuracy of statements in Songlines, we cannot accept responsibility for any errors or omissions or for matters arising from clerical or printer’s errors, or for advertisers not completing their contracts. Songlines USPS 4638 is published Jan/ Feb, March, April/May, June, July, Aug/Sept, Oct, Nov/ Dec by Songlines Publishing Ltd. Published by Songlines Publishing Ltd, Eurolink Business Centre, 49 Effra Road, London, SW2 1BZ. ISSN 1464-8113 © 2014 Songlines Publishing Ltd Songlines logo trade mark, registered under No. 2427714. Directors Simon Broughton, John Brown, Mark Ellingham, Paul Geoghegan, Lyn Hughes & Chris Pollard

CONTRIBUTORS THIS ISSUE INCLUDE

JOHN CLEWLEY Based in South-East and East Asia, John works as a photographer, writer and editor. His DJ name is DJ Por Yai (‘grandfather’ in Laotian). Read his feature about classic music from Thailand on p42.

SETH JORDAN A Sydney-based music journalist, festival consultant and radio broadcaster, Seth wrote the Oz chapter of The Rough Guide to World Music. He profiles the tri-nation Boomerang project on p46.

JULIAN MAY A BBC producer on programmes often about or involving folk and world music for Radios 4, 3, 2 and the World Service, Julian dances with Greenwich Morris. He interviews Martin and Eliza Carthy on p38.

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CONTENTS

50 Kimmo Pohjonen

Fotogramus

UPFRONT

FEATURES

REGULARS

06 Top of the World CD 08 My World interview

28 Susheela Raman 34 Gilles Peterson 38 Martin &

50 Beginner’s Guide:

11 19 21 22 24 25

DJ Nihal Eliza Carthy What’s New & Obits Letters 42 The Sound of Siam Soapbox 46 The Boomerang Project Introducing... Forabandit & Molotov Jukebox Quickfire: Dom Flemons, Anna Phoebe & Ankur Malhotra Spotlight on Cambridge Folk Festival

WIN

52 55

REVIEWS

60 Kimmo Pohjonen 62 Festival Pass: 66 MIMO, Brazil 74 Postcard from Seoul, 78 South Korea 83 Gig Guide 84 Subscribe 86

89 95 96 The Essential Ten:

Africa Americas Europe Asia Fusion DVDs World Cinema Live Reviews

New Brazilian Artists 98 Cerys Matthews

A pair of tickets to Ladysmith Black Mambazo at the Snape Proms 13 Songlines goodie bag and subscription 19 Gilles Peterson’s Sonzeira vinyl box set 37 Anda Union From the Steppes to the City DVD 83

COMPETITIONS Send entries, marked clearly with the competition name, your name, address, email and telephone number to the address on p3 or email: comps@songlines.co.uk. Winners will be chosen at random. Only one entry per household. No cash alternatives. If you would prefer not to be sent details of other Songlines products and services, or products from other carefully selected companies, please state clearly on your entry. Closing date August 1 2014 (unless otherwise stated)

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INTRODUCING...

Forabandit Simon Broughton speaks to the Marseillais trio celebrating Occitan and Anatolian music and poetry

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Thomas Dorn

part from their innate virtuosity, there’s an urgency and ferocity in the music of Forabandit that marks them out. The group are exploring seemingly obscure musical areas, but coming up with powerful new music. The trio consists of French troubadour singer and mandocello player Sam Karpienia and Turkish singer and saz player Ulaş Özdemir, joined by great Iranian percussion master Bijan Chemirani. In Occitan forabandi means ‘to be put aside’ and the word ‘bandit’ fits the group’s manifesto to ‘view both poetry and music with a brigand’s attitude.’ From the beginning the concept was to bring together Occitan troubadour repertoire and similar aşik minstrel music from Turkey. As someone deeply rooted in the Alevi-Bektashi tradition in Turkey, Özdemir explains “we were interested in the mystic dimensions of the Alevi and Cathar beliefs behind these traditions. We saw they were both important movements around the same time in the Middle Ages.” The Cathars were a ‘heretic’ group of Christians in southern Europe who opposed the Catholic Church from the 12th-14th centuries. In 1209, the Pope declared war on the Cathar territories in the Languedoc – known as the Albigensian Crusade – which lasted 20 years. In Turkey, the Alevis are a sect of Shia Islam who often suffered persecution from the majority Sunni Ottomans. Most of the Turkish aşik singers have been Alevi and also close to left-wing politics. “There are no historic links between the Cathars and Alevi,” admits Karpienia, “but the fact is that the Cathars were oppressed and killed in the Middle Ages and the Alevis are still oppressed today in Turkey.” Forabandit’s first album mainly set the lyrics of aşik poets and Occitan

troubadours on themes common to both traditions – social protest, imprisonment and love. But the new album consists of mostly original material and feels like they’ve become a real group and not just a one-off project. “After a few years working with these traditions,” says Özdemir, “we decided to create our own lyrics of the troubadours and aşiks of the modern world.” The opening song ‘Mum Olduk’ by Özdemir is like a Sufi poem, full of references to the stars and sea. Others are much more contemporary in their references. ‘La Novia Baranê’ has lyrics

in Occitan and Turkish vividly depicting a wedding amidst gunfire. Karpienia’s lyrics were inspired by the shelling of a wedding in Afghanistan and Özdemir’s by a similar event in Turkish Kurdistan. La Novia means ‘bride’ in Occitan, while baranê means ‘rain’ in Kurdish. “All these languages show our perspective about being a ‘forabandit’ in this world,” says Özdemir. “Everywhere is a ‘port’ for these forabandits who are in exile all their life.”

+ ALBUM Port is a Top of the World this issue, track 2 on the covermount CD

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Molotov Jukebox

Charismatic singer and accordion player Natalie Tena chats to Alexandra Petropoulos about her band’s musical inspirations

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ou might recognise her as a wilding from Game of Thrones or Nymphadora Tonks from Harry Potter, but actress Natalia Tena has another persona that you may not have stumbled across – the fiery lead singer and accordionist for the London-based band Molotov Jukebox. Through their explosive festival appearances, two EPs and a quickly growing fan base, the six-piece have finally arrived at their debut album, Carnival Flower, five years after Tena began cultivating this side project with co-founder Sam Apley. The success of their steamy, racy fusion can be attributed to each member’s own influences, a vibrant cocktail of all the feel-good genres – Latin, Gypsy punk, swing, calypso and dubstep.

“Each of us brought something,” Tena says. “Sam brought the Balkan side of it and I come from a Latin vibe.” Born in London to Spanish immigrants Tena was constantly surrounded by music as a child. “In my house everyone always played guitar and sang. It was part of my life. They didn’t do it professionally, they’d just sing and play like most Spanish people.” She eventually started learning the piano but found that classical training just wasn’t going to cut it. “The reason I started was to play rock’n’roll, but I ended up having to learn all this classical stuff. And after I did the grades, I was like, that’s it. Then I did loads of theatre, which involved a lot of music. One of them made all the actors go into this mad attic and pick an instrument. There was this battered, tiny accordion, and it was love at first sight.” Blending with the seductive horns, Tena’s sultry voice and a city vibe that only London can produce, the accordion has become just one of the USPs of Molotov Jukebox. But it is their sexy, summery mix of sounds, which Tena describes as “tropical urban Gypsy,” that makes Carnival Flower so irresistibly danceable. The

album is peppered with Gypsy swing, scandalous urban beats and even some of the album’s namesake carnival flavour. But there are a few deeper notes hidden among the feel-good vibe. Opener ‘Tread Softly’ is about altruistic suicide, based on the story of Antarctic explorer Lawrence Oates; while ‘Neon Lights’ is their ode to London, or as Tena puts it ‘Mistress London, who is a massive bitch but our best friend.’ “We always wanted to do something about London, and I wanted to put in something about how London is built on the work and sacrifice of immigrants, like my parents, and that’s what makes London amazing.” Carnival Flower captures the vibrancy of their live shows, showcasing their penchant for experimenting with various styles while at the same time retaining a sense of cohesiveness and a consistent sound that can only be described as Molotov Jukebox’s own brand of ‘tropical urban Gypsy.’

+ ALBUM Carnival Flower is reviewed this issue, see p79

+ PODCAST Hear a track from

Carnival Flower on this issue’s podcast

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THE

QUEEN OF THE NORTH AND SOUTH

Susheela Raman has consistently broken through all constraints of musical categorisation. Peter Culshaw talks to the British-Asian singer about her new album and her reputation of boundary crossing

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ne of the most memorable and magical gigs of the

West-Hindu-Muslim-Sacred-Secular boundaries in its path.” That’s

last few years was when Susheela Raman played

quite a few boundaries smashed in one night. As a bonus, the world’s

at the Alchemy Festival in 2012 to a packed Queen

most famous atheist, Richard Dawkins, described her as “a goddess.”

Elizabeth Hall in London. Her backing band was an

The concert eventually led to a live album which is also the basis

unprecedented, motley troupe including London musicians like

for Raman’s sixth, and probably most ambitious and fully realised

the funky tabla player Aref Durvesh, a couple of great Rajasthani

studio album yet, Queen Between, described by her as “London

musicians and the Mian Mir qawwali singers, who Raman had met

post-rock psychedelia scorched by the deserts of Rajasthan and the

in Lahore. This unlikely crew fused like some spectacular alchemical

spiritual furnace of Pakistan’s finest Sufi qawwals.” Even describing

experiment. At the end, the audience seemingly rose as one to give

it in such a mouthful indicates the difficulty of putting it into any

a standing ovation. The Guardian and the Financial Times for once

recognisable category. It is, though, one of the most thrilling and

agreed, enthusing with five-star reviews, while the Southbank Centre

original albums you are going to hear this year.

immediately invited them back. For guitarist Sam Mills, Raman’s

I should say at the outset that I have known Mills and Raman well for years – they slept on my sofa for a time while recording Raman’s

raucous and ramshackle at others. It was overwhelmingly alive and

stunning debut Salt Rain; I was location manager for their first

merrily bulldozed all the artificial but daunting India-Pakistan-East-

video (finding them a few elephants); attended their epic three-day

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Andrew Catlin

musical and life partner, the concert was “sublime at moments and

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Susheela raman

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lian love i z a r B s i h about how nd release n o s r e t e P s oject a o Gille r t p s t k s l e a t t a r l e s t i Russ Sla petus for h m i e h t s a w affair

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hen talking to Gilles Peterson about his latest release, you really get the sense that you’re talking about something personal, much more than just anot her album of Brazilian music in a year that is stack-full of them. Peterson’s new album map s out his journey from pirate radio in Sout h London to worldwide DJ and respected taste maker. Recorded in Rio de Janeiro earlier this year, and seeing Peterson return to productio n duties after his Havana Cultura releases, Sonzeira (as the project is called) is a celebratio n of Brazilian music, a music that Peterson has always been associated with but rarely has had the chance to put his own stamp on, until now. “The premise was to make a reco rd that was a reflection of my influences as a DJ, back to when I was living in South London listen ing to jazz/ funk radio from people like Robb ie Vincent and whoever was playing Gilberto Gil back then,” remembers Peterson. “How com e I was playing batucadas in a pub in South Lond on at the age of 16/17? How did that happen?” Sonzeira, which roughly translates as ‘a big, big sound,’ brings together a cast of Brazilian musicians, both old and new, and it’s through this list of collaborators that you can get a sense of the journey that Peterson spea ks of – his “gradual development of learning about and collecting Brazilian music.” Naná Vasconcelos and Marcos Valle are names that cropped up regularly in the late 80s and early 90s when Peterson’s time DJing at Dingwalls was at the centre of a new jazz scene in London. Artists like Elza Soares (left), Arlindo Cruz and Mart’nália would have accompanied him as he got

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Peterson out as someone who knew a thing or two about music. It was this label that set this new project in motion: “I went to see Ted Cockle, the pres ident of Virgin EMI, with the premise of arch iving the Talkin’ Loud catalogue bec ause I’d noticed that there wasn’t a great digi tal selection available. So I went to see Virg in to say ‘look, do you want me to get archiving it, or get someone to help arch ive it, before we all forget what happened? ’ and he was quite into that, but he said ‘what else are you thinking about?’ and I said ‘I’m thinking of doing a Brazilia n project’ and he said ‘I’m really up for that .’” Surprised that a major reco rd label was interested in what he said was “not going to be a Fatboy Slim, dance, knock-it-outfor-Pepsi-Cola type of reco rd,” Peterson realised he had to get mov ing to get the album made. It was already August last year when he spoke to Virg in EMI, and so in September he went to Rio for a scouting mission. It was here that he met Kassin, a well-respected mus ician and producer who has recorded with everyone from huge stars like Caetano Veloso and Vanessa da Mata to alterna tive groups in Rio – such as his own Orques tra Imperial project – where Kassin can be considered part of the city’s vanguard. In January Peterson returned to Rio and with Kassin, British pro ducers play to reign free has show, where he Dilip Harris, Sam Shepherd and Robert new music from all over the world. Gallagher, and a team of fam ous and rst fi The fact that the album is the lesser-known (though no less -skilled) release on Talkin’ Loud in over ten Brazilian musicians, they formed years is also significant. This was the Sonzeira, which is the nam e of the band. record label that Peterson ran in the The album is called Brasil Bam Bam Bam, 90s and early 00s, helping establish an apt name given how quic kly the album artists like Roni Size, 4Hero and was made. With a busy radi o schedule to Young Disciples, as well as marking

deeper into samba music through the turn of the millennium, a time when he released his In Brazil and Back in Brazil compilations. He then brings himself up-to-date with the new crop of artists – people like Seu Jorge (below), Lucas Santtana and Kassin – all of whom have featured heavily on his current BBC 6Music

“The premise was to make a record that was a reflection of my influences as a DJ”

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GILLES PETERSON

eks to n only had two we keep up, Peterso also s wa ere orded. Th get the album rec such d ate sit ces ne t tha a looming event have : “I knew I didn’t a hasty schedule point ch mu t no s e there’ very long becaus comes out t tha d or rec n making a Brazilia p’s over.” after the World Cu old ir time between the the lit sp m tea e Th so th wi ndiose studio RCA studio – “a gra studio it” – and Kassin’s in t iri sp od much go parently ap re we ns sio ses in Botafogo. The y were for Havana a lot easier than the ct for other major proje Cultura, the only er rather uc od pr a en be s which Peterson ha R man,” e producer or A& than an “executiv f in sel my ew thr “I it. as he himself puts n records, ba Cu the th wi d at the deep en ically complicated logist which were quite nk about thi to e nc de nfi but gave me the co s like that.” doing more thing e can be seen in the nc de nfi co is Th terson on the album. Pe rs choices of cove ’, a ez ee Fr e ‘Southern wanted to remak 80, as a 19 m fro ck tra e nc classic British da up-andbossa nova with sultry electronic at the jo aú Ar lle anue coming singer Em ating a cre of y wa re fi rehelm. It was a su past een his early DJing connection betw his set o als He il. az and his love for Br ssics, the nafide samba cla sights on two bo which o’, eir nd Pa s ‘Brasil first of which wa do lin “Ar o: me ca d cte gained an unexpe or do xt ne in the studio Cruz [below] was on o inh qu va ca y d to pla and really wante in Brazil ow sh TV big a t the track. He’s go and is probably the most famous ord, person on the rec to , gh ou en ly weird e Brazilians.” Whil e nc ara pe Cruz’s ap up co a nly tai cer is is for the record – he the of e on red conside most famous living de samba and pago azil – Br in ers os mp co nce it was the appeara il’s az Br of of one

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Molam superstar Angkanang Kunchai

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Sound of

SIAM

As a new compilation of classic Thai hits is released, John Clewley explores the funky bamboo-driven tones of rural north-east Thailand

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or Soundway’s new compilation,

In Thailand, Isan is famous for its hot and

These singers start slowly, with a haunting call

The Sound of Siam Vol 2: Molam &

spicy food, good boxers and great music. Molam,

to fortune before switching to a faster mode,

Luk Thung from North-East Thailand

or lam, as it is known locally, is the music of the

delivered at speed like a rapper in rhyming

1970-1982, the focus has shifted away

Laotian-speaking minority that dominates Isan.

couplets and triplets. As the music hits the

from the luk thung (Thai country music) of the

The folk forms, and there are many, have existed

chunky mid-section, Isan people start to dance,

first volume, to molam – the funky roots music

for centuries, and until the 20th century, much of

waving their hands in graceful movements and

of Isan, the country’s north-eastern region. “I

it was played by villagers at harvests, weddings,

swaying their hips in time to the beat. At temple

could really feel the music… even before it gets

temple fairs and new year celebrations. Driving

fairs or weddings, they do this until daybreak.

going, the voice gives you goose bumps,” reflects

the music is the basic pulse of small temple

Bangkok-based DJ Maft Sai. “There are so many

cymbals (ching), funky riffs of the phin and the

with large bands taking off after World War II,

things to like in the music, the singing, khaen

distinctive vamping of the organ-like khaen,

particularly in the 60s, when visionary producers

(bamboo mouth organ) and phin (two-and three-

the latter of which complements the wailing

like Theppabutr Satirodchompu started recording

string lute from Isan) playing… and the groove.”

vocals of the molam – a ‘master of lam singing.’

modern molam productions in his studio right

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Molam The music is really lam, and a mo lam is a ‘master of lam singing.’ Those outside Isan and Laos dubbed it molam. It has a much funkier rhythm than luk thung, with different scales and a rapidfire vocal delivery that sounds a bit like rap.

Luk Khor This is the distinctive vocal technique of luk thung and molam singers, which involves a great deal of ornamentation and note bending.

Molam Sing Small combos ditched the slow mode used at the beginning of lam songs and went straight to the funkier rhythms of the faster mode. The term sing comes from the English word ‘racing,’ which was used first as dek sing for teenagers racing around on motorcycles.

Molam Glawn The traditional and highly poetic form of lam. Lyrical content is about Buddhist stories, current affairs or history and masters like Chaweewan Damnoen had to learn all these subjects before they were allowed to learn to sing. The music remains an important part of social life.

Isan Lam Sing A term that Nok Noi Uraiporn – the ‘Queen of Isan Lam Sing’ – invented to describe her music. Uraiporn’s shows are legendary for their size and sheer spectacle.

All photos by John Clewley

Luk Thung Often called ‘Thai country music,’ the term means ‘child of the fields.’ It blends Thai popular music (sakorn) with singing that has rural roots, initially from the central region. It’s the music of the provinces and working class in Bangkok.

Theatrical forms developed in the 20th century,

Luk Thung Isan A mix of the two styles: luk thung musical backing to molam singing, but sung mainly in Thai and not in Laotian. It’s extremely popular in Laos, which shares the same language and music as found in Isan.

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The best world music albums of the last six months

Music Buyer’s Guide Welcome to the Songlines Buyer’s Guide, a handy reminder of the best world music releases of the last six months. The CDs here have been reviewed in the last four issues of the magazine and each received a ‘Top of the World’ accolade AFRICA

AFRICA

AFRICA

AFRICA

Various Artists

Angélique Kidjo Eve

Habib Koité Soô

Malawi Mouse Boys Mamar Kassey Dirt is Good

Taboussizé-Niger

429 Records

Contre-Jour

IRL Records

Innacor Records

The Songlines Music Awards 2013 Best Artist winner pays tribute to the women of Africa with her signature vocals on her tenth studio album.

One of Africa’s most accomplished instrumentalists, Malian Habib Koité strips back his sound for a more acoustic effort, which calls for peace in his troubled country.

This Malawian eight piece, renowned for selling fieldmouse kebabs when they’re not making music, continue to captivate with their uplifting and bare-boned brand of Afro-reggae gospel.

Reviewed in #100

Reviewed in #99

The Nigerien group return for their third release with a predominantly acoustic and traditional West African album, featuring the fabulous vocals and flute playing of Yacouba Moumouni.

The Nile Project: Aswan The Nile Project

The Nile Project brought together musicians from countries along the Nile to showcase a variety of talent, like Sudanese singer Alsarah, for this live performance in Aswan.

Reviewed in #98

Reviewed in #97

AFRICA

Reviewed in #97

AFRICA

AFRICA

AMERICAS

AMERICAS

AMERICAS

Rajab Suleiman Toumani & Sidiki & Kithara Diabaté Zanzibara 8: Chungu Toumani & Sidiki

La Chiva Gantiva Vivo

De Temps Antan Ce Monde Ici-Bas

Nickel Creek A Dotted Line

Crammed Discs

L-A be

Nonesuch Records

Buda Musique

World Circuit

Suleiman’s qanun (zither) playing shines through in this fine testament to the Zanzibari taarab music tradition.

The Diabaté kora legacy continues with this father/ son collaboration. A vivid and rich tapestry that awakens the senses.

The Québécois power trio stay true to form with their lively delivery of traditional FrenchCanadian and original material with a Celtic tinge.

In a long-awaited return, Nickel Creek are back together in full swing. The bluegrass trio have kept their fresh reputation intact and sound better than ever.

Reviewed in #99

Reviewed in #100

La Chiva Gantiva continue to explore uncharted musical territory with their unique blend of punk, funk and Afrobeat. Latin rhythms and punchy horn riffs permeate their second record.

Reviewed in #98

Reviewed in #100

Reviewed in #99

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4 issues of Songlines for only £4? Now that’s an offer worth singing about... Call 020 7274 7215 and quote SL101DD or visit www.songlines.co.uk/SL101DD TERMS & CONDITIONS: Only available to new subscribers and the four issues will start with the next issue, Aug/Sept 2014 (#102). This offer is not available in conjunction with any other promotion and only available to UK customers when paying via Direct Debit. To pay by Direct Debit, both the billing and postal address must be in the UK. Subscriptions are continuous; after the first payment of £4, a payment of £16 will be collected every six months (4 issues) unless cancelled. No minimum term. Angélique Kidjo performing at the Songlines Music Awards 2013 Winners’ Concert. Photo by Alex Harvey-Brown

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FUSION

Breabach Ùrlar

O’Hooley & Tidow The Hum

Arun Ghosh A South Asian Suite

Breabach Records

No Masters

Camoci Records

Widely regarded as one of the finest Scottish folk bands, Breabach deliver a beautifully mature and rich mix of subtle musicianship.

With an impressive collection of songs, the latest album from English folk duo Belinda O’Hooley and Heidi Tidow celebrates the hum of humanity.

The British-Asian clarinettist and his group of talented musicians deliver a consistently engaging, adventurous record with a focus on South Asia.

Reviewed in #98

Reviewed in #99

Reviewed in #97

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Various Artists From Another World: A Tribute to Bob Dylan

Ellika, Solo & Rafael Now

Buda Musique

Ellika and Solo come together again, this time with Rafael in a seamless collaboration of Swedish, Senegalese and Mexican instrumentation.

This compilation and tribute to Bob Dylan takes a highly original approach to several of his classic songs, which are reimagined by a host of artists from Cuba to Burma.

Country & Eastern

Reviewed in #97

Reviewed in #97 FUSION

FUSION

FUSION

ASIA

MIDDLE EAST

Imed Alibi Safar

Jaron FreemanFox and The Opposite of Everything Jaron Freeman-Fox and The Opposite of Everything

Kronos Quartet

Ashwini Bhide Deshpande Arghyam: The Offering

Driss El Maloumi Makan

IRL Records

Imed Alibi unleashes his Berber and Sufi-inspired percussion under the direction of guitarist Justin Adams, and introduces the world to the new sounds of Tunisia with an international flair. Reviewed in #100

Jaron Freeman-Fox

With an undefinable mix of styles and genres, Jaron Freeman-Fox’s second release lives up to its title.

A Thousand Thoughts Nonesuch Records

To celebrate their 40th anniversary, the experimental string quartet set aside their classical work for a collection of tracks that draw on various influences from around the world.

East Meets West Music

Reviewed in #100

Reviewed in #97

Singer Ashwini Bhide Deshpande performs ragas written by the late Ravi Shankar as a tribute to India’s most famous musical ambassador.

Contre-Jour

The Moroccan oud player’s third solo album demonstrates his flawless technique and playful ingenuity through compositions widely varying in mood and style. Reviewed in #98

Reviewed in #98

Available now

Free Super Saver Delivery and Unlimited One-Day Delivery with Amazon Prime are available on eligible orders. Terms and Conditions apply. See Amazon.co.uk for details. ISSUE 101

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Europe reviews

top

Martin & Eliza Carthy The Moral of the Elephant

of the world track 9

Topic (48 mins)

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Keeping it in the family We’ve heard them together in Waterson:Carthy, but this is the first time father and daughter have recorded as a duo, and it deserves a place up there with the best of the family oeuvre. The single ‘Happiness’, a cover of one of Molly ‘Mother of Nick’ Drake’s piano songs, features Eliza in great voice over Martin’s typically spare, telling guitar. Martin’s voice and guitar on the opening ‘Her Servant Man’ sounds like nothing else in music, opening up hidden angles and stresses in timing and delivery; while on ‘Blackwell Merry Knight’, the duo’s fiddle, guitar and vocal harmonies manage to be both wholly idiosyncratic and

Rodrigo Costa Félix Fados de Amor ARC Music (44 mins)

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The old-fashioned fado fella gets sentimental Rodrigo Costa Félix’s second album is a compendium of ruminations on women and love. It’s a somewhat old-fashioned affair in that its tone is generally sentimental and only occasionally wry. Fado looks to the past – reliant musically on tradition and roots, and thematically on saudade and nostalgia – but even so, there are times here when it’s difficult for today’s listener to reciprocate the seriousness offered up by the singer. The song ‘Mulher’

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perfectly matched. Their vocal and instrumental duet on ‘Grand Conversation on Napoleon’ is magnificent – the English poor’s yearning for Napoleon to deliver them from dire poverty is not a part of history you hear about much, but it spills across hundreds of folk songs. Further in, the title-track adapts a poem by John Godfrey Saxe, while ‘Waking Dreams’ is a sad Dorset tune carried by Eliza with emotion and subtlety. The closing ‘Died for Love’, long associated with Mike Waterson, wins the prize. They performed it at this year’s BBC Folk Awards, a stark, unequivocal showstopper, and it’s the highlight of this generous and beautiful album. Tim Cumming

TRACK TO TRY Died for Love

(Woman), for example, compares women to roses, waves, sandy beaches and a watercolour painting: it’s all served up with great sincerity but without a pinch of salt. The album provides two breaths of fresh air in the form of a duet with consummate practitioner Katia Guerreiro on ‘Morena’ and with a starin-the-making, Angolan singer Aline Frazão on ‘Fado Contido’. The latter entices with hints of jazz and African sounds, and forms a wonderful foil for Costa Félix’s more traditional, correct-sounding fado style. That’s not to relegate Costa Félix’s musical abilities to second place: he has a singular talent for putting across a ballad clearly, naturally and in an unmannered way, no matter how unpromising the material, while his effortless singing has both

softness and depth. His addictive vocals are ably supported here by zesty instrumentals, most notably Marta Pereira da Costa (his wife) on Portuguese guitar. Michael Macaroon

TRACK TO TRY Fado Contido

Benjy Fox-Rosen Two Worlds Golden Horn Records (61 mins)

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Freshly unearthed songs from Poland’s turbulent times On Two Worlds, bass player, singer and composer Benjy Fox-Rosen creates an song cycle from the large body of work of Krakówian Yiddish songwriter Mordechai

Gebirtig (1877-1942). Half of the songs on this recording date from before the war, the others from during wartime. Gebirtig wrote the music for most of his songs; the melodies were written down by his friend, the composer Julius Hoffman, as Gebirtig himself could not write music. On this album, Fox-Rosen has created a contemporary idiom for some of Gebirtig’s texts, which were left without melodies. The song texts on this CD are predominantly dark and the compositions combine melodic harmonies with atonal, discordant surprises. At the heart of the recording is Fox-Rosen’s warm, expressive voice, accompanied by accordion, clarinet, guitar, banjo and drums. In the more upbeat ‘Urloyb’ (Time Out), the ensemble comes together expertly and beautifully. ‘Genug Geveynt’ (Enough Crying) favours a more traditional melody with waltz rhythms enhanced by clarinet and accordion. A variety of musical styles are underpinned by frequent shifts to dissonance; while stressing the profoundly sad lyrics, this maintains an ever-present tension. Original and innovative, Benjy Fox-Rosen’s Two Worlds pays homage to tough, tragic worlds, albeit perhaps at the expense of exploring the full range of Gebirtig’s lyrical expression. Helen Beer

TRACK TO TRY Urloyb

Groupa Silent Folk

Footprint Records (50 mins)

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This silence is golden... and, er, not that silent Since the 1980s, Groupa have been at the vanguard of progressive Nordic folk, their boldness influencing a whole generation of musical explorers, and they have hosted many fine musicians over the decades as their musical path took various twists and turns. Silent Folk, their first album since 2008’s Frost, features Groupa as a minimalist instrumental trio including Mats Edén (fiddles), Jonas Simonson (flutes) and uncompromisingly inventive percussionist Terje Isungset, who utilises conventional instruments alongside other, wilder elements derived from the natural world. Blending traditional melodies with free improvised elements reminiscent of avant-garde jazz, this album is

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Europe reviews a characteristically surprising and playful collection of what they describe as ‘Nordic soundscapes and meditative improvisations in a Scandinavian tradition.’ While Edén and Simonson deftly and decorously dart round each other, Isungset often injects a certain menace with his various unearthly percussive noises, and a certain energy with his Jew’s harp. Like a trip through the woods, it can all seem very lovely – but you’ve got to keep your wits about you. Kevin Bourke

TRACK TO TRY Halling From Elsewhere

Haddo Borderlands Lulubug Records (44 mins)

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Sterling work from the two Pounds of folk music Borderlands crosses boundaries in two ways. Haddo is the duo of husband and wife Nicky and Will Pound: she hails from Aberdeen in the north-east of Scotland; he from Warwickshire, the heart of England. There are generous helpings, in this effervescent album, of tunes from both countries and their traditions. Nicky, once a cathedral chorister, sings the Jacobite rising song ‘Will Ye No Come Back Again’ and ‘Two Sisters’, a strangely jolly ballad of sororicide. There are jigs, a wonderful fiddle tune, ‘Farley Bridge’ by Duncan Chisholm and ‘Frank’s Reel’ by another Scottish fiddle player, John McCusker. ‘Orange in Bloom’ is a lovely Sherborne Morris tune; ‘Old Tom of Oxford’ is a favourite from the Headington Morris tradition, performed here playfully with a Glenn Miller swing; and the album opens with ‘Ampleforth’, a vigorous longsword dance tune. Will Pound is renowned as a harmonica virtuoso – he was nominated as 2014’s BBC R2 Folk Musician of the Year. But here he plays the melodeon. Nicky is a graduate of the Royal Academy of Music, a specialist in baroque viola. But here she plays folk fiddle. Both clearly enjoy their exploration of each other’s traditions and relish their instrumental excursions. They play with a zestful intimacy and generosity. ‘Farley Bridge’ builds slowly, the fiddle nursing the melody and the melodeon picking it up, and later, handing it gently back. Julian May

TRACK TO TRY Farley Bridge

The Henry Girls Louder Than Words Beste! Unterhaltung (39 mins)

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Something to shout about After playing together as The Henry Girls for more than a decade, sisters Karen, Lorna and Joleen McLaughlin from County Donegal have crafted an assuredly rootsy album of (mostly) originals that could well prove to be their breakout collection. Somewhat inevitably, they have already been likened to other harmonising siblings such as The McGarrigles and even The Andrews Sisters. The latter comparison is given a little weight by their arrangement of one of the two covers here, ‘So Long But Not Goodbye’, by contemporary Irish songwriter John McBreen. But the essence of their achievement is to charmingly personalise their music, transcending most of the other obvious comparisons. Despite an unexpectedly sweet but surprisingly agreeable version of Bruce Springsteen’s gruff ’n’ready ‘Reason to Believe’, their graceful harmonies and accessible tunes rather better serve their own delicate and wistful material. ‘The Light in the Window’, ‘Home’ and ‘No Matter What You Say’ are especially successful and gently affecting, blessed with charming vocals and dressed with elegant musicianship. Kevin Bourke

TRACK TO TRY The Light in the Window

Mariza Best of Mariza Warner Music (72 mins)

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An impressive rifle through the fado singer’s back catalogue This really is exactly what it says: highlights from the career of the extraordinary fado singer who released her debut on World Connection, a Dutch label, in 2001, but who quickly became a fado star in Portugal. Mariza won a BBC Award for World Music in 2003 and was part of the bid that got fado recognised by UNESCO in 2011. She has now recorded five studio albums and there are tracks from each of them here, including ‘Loucura’, ‘Maria Lisboa’,

‘Primavera’, ‘Musica de Povo’ and ‘O Gente da Minha Terra’. Is there anything new for Mariza devotees? Well, there are two new tracks, notably ‘Ó Tempo Não Para’, a wistful song with piano. There are interesting bonus tracks featuring Spanish singers including the smokyvoiced Buika and the flamenco artists Miguel Poveda and the over-dramatic Jose Mercé – showing Mariza’s success at winning over Portugal’s combative neighbours. For those yet to discover Mariza, it’s the ideal introduction; for the rest of us it hints at new things yet to come from the fadista. Simon Broughton

TRACK TO TRY Ó Tempo Não Para

Gavin Marwick The Long Road and the Far Horizons Journeyman Records (2 CDs, 130 mins)

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A 30-year celebration of one of our finest fiddlers It’s safe to say fiddler Gavin Marwick is spoiling us. His latest release is a double-CD of 27 tracks, comprising over 60 different self-penned tunes. He also has 200 original tunes set to be released shortly as a tune-book, and a series of ‘Journeyman Spectacular’ concerts planned. As a fiddle player Marwick has been involved in some of the biggest bands over the last couple of decades, including Ceilidh Minogue, Bellevue Rendezvous, Session A9 and Malinky, amongst many others. The Long Road and the Far Horizons highlights his reputation as one of the finest fiddlers on the scene. Marwick has enlisted a rich band of 12 other well-known musicians, including members of Old Blind Dogs and the New Rope String Band, and the set includes tunes written across nearly three decades of composing. There is a vast range of influences and instruments here, with traditional sounding jigs, marches, reels and polkas delivered with Polish, Balkan and Scandinavian flavours. The choice of instruments is also eclectic: along with Marwick’s fiddle there is nyckelharpa, cajón, button box and cittern. From the feisty opener, ‘Firedance Parts 1 & 2’ (complete with sax accompaniment), through the spiky, energetic ‘The Breadalbane Reel’ and the quietly atmospheric ‘Out of the East’ to the moody conclusion of the

‘Pallbearers’ Lament’, Marwick presents a remarkably ambitious and accomplished collection. Billy Rough

TRACK TO TRY The Long Road

Tommy McCarthy & Louise Costello Grace Bay Copperplate (55 mins)

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From the east coast of the US to the west coast of Ireland Offspring of noted figures in their native West Clare and County Galway, the husband-and-wife team of Tommy McCarthy and Louise Costello are also owners of Boston’s famous Burren Bar – a venue that’s a honeypot for traditional musicians on America’s East Coast. Grace Bay finds the fiddle-and-accordion duo returning to their Irish roots for their debut album. The pair’s early influences are clearly to the fore: the minor-key lilt of ‘A Trip to Miltown’ and the spry jigs ‘Strop the Razor/ Ard an Bhóthair’ are both lifted from the West Clare soil, while ‘The Corner House/The Boys of Dublin’ pays jaunty homage to Costello’s box accordion-playing father. There’s also a fair smattering of McCarthy’s own music, all, for the most part, confidently set down with a persuasive gloss of authenticity. The occasional appearance of banjo, ukulele, guitar and bouzouki broadens and brightens a palette employed by hands that are perhaps too steady and stately throughout. Michael Quinn

TRACK TO TRY The Broken Pledge/ The Boy in the Gap

Megson In a Box

EDJ Records (45 mins)

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Tightly squeezed Tynesiders turn to their home tunes The name of husband-andwife duo Megson is now familiar on the English folk circuit. Their first studio album in four years is an intimate mix of original and traditional numbers rooted firmly in their native north-east. Megson may be based in Cambridgeshire, but In a Box celebrates their roots on Teesside and Tyneside with songs that

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the essential

New Brazilian Artists Brazil is a country in transformation, still finding its feet after years of dictatorship and repression. Here are the ten artists who are helping the country rediscover its identity Words Russ Slater

01 Bixiga 70 Ocupai (Mais Um Discos, 2014)

Brazil has discovered Afrobeat in a big way and one of the finest examples are São Paulo’s Bixiga 70, a ten-piece band that have already started to break out of their genre confines by adding disco, Ethio-jazz and melodies from Brazilian spirituals into the mix. Think of them as the Brazilian Budos Band. This is their second release, which will be reviewed in next issue (#102).

02 Karol Conka Batuk Freak (Mr Bongo, 2014)

The first female rapper to break out of Brazil has done so through mashing up heavy beats, north-eastern folklore and the latest dancefloor rhythms, while making sure that her own powerful voice still steals the show. Batuk Freak, her debut, is a mixture of canny production, assured rapping and tough-toextricate earworms. Reviewed in #100.

03 Criolo Nó Na Orelha (Sterns, 2011)

Fusing poetry, black consciousness and a musicality that had rarely been heard previously in Brazilian hip-hop, this breakthrough album made Criolo one of the biggest new stars in the country. The São Paulo rapper’s socially-aware songs speak to the same generation currently protesting against the excesses of the World Cup. Nó Na Orelha was a Top of the World in #86.

04 Curumin Arrocha (Six Degrees, 2012)

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in Brazil, and his fourth release, Arrocha, completed his transformation to bonafide star. His modern blend of hip-hop, reggae and electronic beats is anchored by a real knack for timeless pop hooks, the kind that sound both familiar and new simultaneously, with the track ‘Selvage’ being the perfect example.

05 Dom La Nena Ela (Six Degrees, 2013)

Time spent living in both Buenos Aires and Paris has clearly impacted the first album from the Brazilian-born cellist and singer Dominique Pinto, who is known by her stage name Dom La Nena. Her songs are tender, hushed, more European chanson than anything South American, while her use of repetitive loops shows the influence of Argentinian singersongwriter Juana Molina.

06 Garotas Suecas Feras Míticas (Vampisoul, 2014)

On their second album, the cheekily-named Garotas Suecas (Swedish Girls) refined the Os Mutantes-inspired garage rock of their debut, Escaldante Banda, with stabs at FM pop and rock. While the São Paulo-based band’s reasons may be commercially-inspired, the results are nonetheless full of their customary playfulness, melodicism and wit.

07 Dona Onete Feitiço Caboclo (Mais Um Discos, 2014)

Discovered only five years ago at the ripe age of 70 while singing at a local dance in northern Brazil, Onete’s rise has been meteoric with her slower, sensual version of the hip-twisting carimbó rhythm, and Amazonian takes on samba and even salsa, making her one of the hottest new artists in Brazil. Not bad for a 75-year-old!

08 Otis Trio 74 Club

(Far Out Recordings, 2013)

Whether going for classic bebop or stretching out into vast improvisations, there is something inherently fun about the Otis Trio’s swinging take on jazz. In fact, there is rarely a dull moment on this debut as the five-piece ensemble – they’ve already extended from the trio they first formed in 2007 – give Brazilian jazz a surreptitious injection of life.

09 Tiganá Santana The Invention of Colour

(Ajabu!, 2013)

Singer and composer Santana’s dreamy, hypnotic debut earned him a Top of the World in #94, as well as many comparisons to Nick Drake. Featuring musicians from all over the world – including Cape Verdean singer Mayra Andrade and Senegalese kora player Maher Cissoko – The Invention of Colour showcased Santana’s AfroBrazilian roots and highlighted his sound, which is singular, seductive and full of soul.

10 Tulipa Efêmera (Totolo, 2011)

It was clear that Brazil had a distinctive new chanteuse as soon as Tulipa Ruiz’s melodic, undulating voice trickled out of the speakers on this glorious debut. The simple yet effective production – all sparse guitar and trembling piano with the occasional trumpet for punctuation – is the perfect backdrop for Tulipa’s versatile delivery and poignant vignettes of day-to-day life in São Paulo. Reviewed in #75.

+ LET US KNOW What are your thoughts? Who did we miss? Write and let us know, letters@songlines.co.uk

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cERYs matthews Cerys delves into the Red Book of Hergest and the world of Celtic myth, uncovering the exotic world of our pre-Christian forefathers

J

A Filetta Beginner’s Guide to Corsica’s a capella group

ust stopped smoking? Found that miraculous new diet/ HBO series/sports activity? Sometimes that fresh flush of enthusiasm is hard to keep in check. It’s Andrew Marr’s book History of the World that has got me proselytising. It sets the scene of how we got here, shows how we fit into this great global puzzle and how, rather like domino tricks, every action has a reaction. So enthused am I about this tome that, were I able to, I’d fast-track it onto the national curriculum for schools, so that by the age of 16 each and every child living in Britain would have a good grounding in man’s migrations, from Africa into the rest of the world, and gain a wisdom that just might chip away at the tendency of sticking people into racially stereotyped compartments and think we’ve all lived like that, all neatly boxed up, oblivious, unaffected and uninterested in the goings on of our neighbours ad infinitum. This, you may be thinking, is a natural follow-up from last issue’s column, on music and purity. And you’re probably right. So why is the bit still between my teeth? Well, I’ve spent these last few weeks filming a documentary about a 14th-century manuscript called the Red Book of Hergest, which belonged to a Welsh nobleman. The more recognisable name for some of the stories found within its pages is The Mabinogion – whose narrative contains lessons in friendship and honour and introduces us to the flower woman Blodeuwedd, the elusive and beautiful horse goddess Rhiannon, and the giant king Bendigeidfran, who lies across a river to become the bridge. Early drafts fell foul of the convenient ‘Celtic Knot’ packaging – a hint of Offa’s Dyke here, a spot of the nebulous ‘Celtic mythology’ there, nudging modern minds to imagine blue painted, iron-age people grunting amongst the fire’s ash and bones of last week’s meals. Such neat presentations always miss out on all sorts of opportunities, besides which, as Marr’s History of the World effortlessly demonstrates, the history of humans is not that easily contained. And, surely looking across history from a wider angle is much more interesting, and it comes with a bonus – by shedding light on any differences between smaller subjects, you learn more about them. Borders fidget and stray through time, and not so long ago an old Brythonic language was spoken from Scotland through North England and down deep into the West Country and Cornwall – and there were close relations within these lands and across to Ireland. Huge swathes of Britain and Ireland are represented in this manuscript, so these captivating tales belong to the ancestors of many more than just those who happen to be living within the

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borders of our modern map of Wales. They tell us so much about our forefathers – their habit of fostering children out and that keeping your word was of paramount importance. It warns us of the dangers of revenge. In the story of ‘Math, Son of Mathonwy,’ revenge escalates into all out war between Britain and Ireland. The Mabinogion is almost a kind of early Bible, as within it are moral codes and lessons of social conduct, or conversely it might be seen as an early cousin of the Game of Thrones! Such are the twisting, unpredictable nature of their narrative. They are a collection of stories from the oral tradition, which may have roots way back into the seventh century, the early dark ages, which is so often presented as an unsophisticated time but was in reality made up of complex societies with all their intricacies, some being educated for years in the bardic tradition, gaining a wide knowledge of the world around them. The significance of the Red Book of Hergest is that this was the first time these accounts were written down. It’s impressive proof of the wide interests of these people, with references to Rome, Emperor Max, the Trojans, and writings on astrology, medicine, history and poetry. Action takes place in France, London, Oxford and the very first literary references to King Arthur are made here, all written in a stunning poetic language. The documentary will air some time later this year and will, I hope, be a correct manifestation of the wide meanderings and exotic world of our pre-Christian forefathers. I’m hoping that since Songlines readers have a natural fascination and appreciation for the cultures of the world including the oral traditions of other countries – the griots of Mali, the storytelling mothers of Somalia, etc – that you’ll also enjoy this journey into the oral tradition of these small islands, remembering that this history is our shared history, not to be boxed up.

The history of humans is not that easily contained... borders fidget and stray through time

NEXT ISSUE On Sale July 18 DakhaBrakha Kiev protest songs Catrin Finch & Seckou Keita Blending cultures and musics Rwanda The music scene 20 years after the genocide

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+ F URTHER READING A History of the World by Andrew Marr +

(Pan Macmillan, 2012); The Mabinogion: A New Translation by Sioned Davies (Oxford University Press, 2008) R ADIO Cerys’ BBC 6Music show is on Sundays 10am-1pm

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