This little gift-wrapped indie-folk record has a real endearing charm and character to it. It’s rare that you hear something with such a brilliantly understated raw aesthetic, bringing together a warmth of lo-fi wonder and adventure with the delicate vocal whispers.
This is a breathy, layered, and atmospheric folk lament, spun in a hypnotic web by a deeply enchanting and somewhat child-like voice. The patches of darkness are occasionally blotted with sparse interchanges, creating a dense and minimal duality. An immersive and reverberating listen.
This band have taken their influences from 17-20th century folk and made it bearable for non-folk listeners. There’s a real earthiness and freshness to this album, and it feels like it was recorded in a remote barn on the scottish islands. The voice have a great tone and carries with it a great selection of folk instrumentation that includes flutes and harmonicas.
This rough and ready album hits you immediately with full force. Before you realize what you’re hearing you feel the shards of raw acoustics and violins hitting you right in the face. It also has some lighter fragments of acoustic sensibility, which is further complimented by a distinctive voice and the authenticity of the production.
This group devour so much powerful harmony and melody, as well as engineering an incredible warmth from the core folk instrumentation. All parts seem beautifully balanced, with the male/female vocal duets adding an extra dimension. It’s a manifesto for brilliant contemporary folk music.
There’s a real untapped listening environment of strange, faraway folk music, and this band really aren’t you’re average folk group. The warbling, whistling, chiming, sizzling mixture of jew harps, violins, clarinets, flutes and double basses create a cacophony of unusual noises which leave you perplexed.
This album delicately and gently touches you, as you are suddenly seduced by Laura Dunn’s isolated, distinctive and intoxicating vocals. This is stripped back to it’s naked folk roots, with added quirkiness and plucky instrumentation thrown in. Too good to sound primitive, too bad to sound complex.
Few voices are as lovely as this. There’s a rich simplicity to the arrangement and the vocals – there’s no danger of the singer trying hard because all the elements are there. The string entries are just perfect. A masterly soundscape of minimalist folk singing.
Do you like listening to some contemporary folk music from New Zealand? Well this album is for you! There’s some intriguing combinations of bagpipes, whistles and flutes usually more associated with British folk music. At times the interplay is great, but I also feel that the vocals veer into a bland rice territory.
A wonderful body of folk-baroque sound. It hits you immediately, a refreshing medicine to cure the pain of hopelessly homogenous music. There are lovely fragmented harmonies enriched by luscious violin and acoustic arrangements.