folk

Fovea Hex – The Salt Garden III

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It all began with a trilogy. This was back in 2005 when, over the course of three successive years, Irish musical entity Fovea Hex (singer Clodagh Simonds, together with a changing roster of collaborators) put out the trio of EPs – Bloom, Huge and Allure – that would become collectively known as Neither Speak Nor Remain Silent. An album in all but name, each part of the trilogy was accompanied by an additional disc where the music had been extensively remixed by The Hafler Trio. Following this there was a four-year wait until their only actual album, Here Is Where We Used To Sing, was released in 2011, again with an accompanying disc of remixes (titled Three Beams) by Michael Begg, Colin Potter and William Basinski. After which a further five years would pass before their most recent, even more slow-to-emerge trilogy The Salt Garden, the third and final part of which has recently – finally! – been released.

It’s worth taking a moment just to reflect on two significant aspects of all this. First is the group’s disinterest (for the most part) in more conventional contemporary release practices. i described Neither Speak Nor Remain Silent as an album in all but name, yet at a risk of contradicting myself the fact is that it wasn’t, and isn’t, an album, but – to borrow a phrase from The Hafler Trio – a ‘trilogy in three parts’. There’s something rather old-school about it, not unlike like the practice during the 1990s in which, due to the popularity of the relatively new CD medium, instead of releasing bog standard singles, artists would instead put out dual maxi-singles, one disc of which typically featured three or four songs, the other disc a collection of remixes. Taken together, the two discs would often last as long (if not longer) than an album, and being able to spend time with a cluster of songs that were then reworked was always an enormously enjoyable listening experience. Read more

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Summartónar 2019 (Part 1)

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When did you last listen to music from the Faroe Islands? Who’s your favourite Faroese composer or group? For many, i suspect, those questions would likely be impossible to answer, and until recently – with the big exception of Eivør, one of my very favourite singers – i would have been in the same position. That is, until a few weeks ago, when i took up an invitation to spend some time at Summartónar, the Faroe Islands’ annual music festival.

To say that Summartónar is different from most music festivals is not simply an understatement but a reflection of the broader fact that pretty much everything in the Faroe Islands is, to some degree, different from everywhere else. Its location, a remote spot in the North Atlantic between Iceland and Norway; its composition, a cluster of 18 principal islands (all but one inhabited) none of which is longer than around 30 miles, rising vertiginously from sea level to form austere, alien hill ranges; its language, rooted in Old Norse and today resembling a curious mash-up of Icelandic and Danish. Though clearly related and connected to a wider community, it’s nonetheless a place that feels uncannily dislocated.

Nothing in the Faroes is ordinary, and unsurprisingly this extends to its cultural life too. Even before i’d experienced anything first hand i’d heard how, due to its relatively small population (around 51,000), musicians there tend not to fit into neat generic or stylistic categories but instead take part in a wide variety of musical forms, encompassing and combining folk, jazz, classical, pop and the avant-garde. Such a pluralistic outlook as this can be seen in the make-up of Summartónar itself. Its events, most of which gravitate around the capital city of Tórshavn, generally fall into one of three broad descriptors: folk / singer-songwriter, jazz / world, and classical / experimental; beyond these are cultural evenings (about which more in a moment) and concerts taking place out of doors and in caves. Despite its remoteness and relatively small size, there’s clearly a wealth of music-making going on in the Faroes, which perhaps explains why the Summartónar festival lasts for no less than three full months (June to August). Read more

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Fovea Hex – The Salt Garden II

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It’s high time i flagged up one of the standout new releases i’ve been spending time with over the summer. Whenever Irish experimental electronic folk group Fovea Hex put out something new, it’s not just a cause to rejoice but a guarantee of something unique and indescribably wonderful. They’ve been around for 12 years now, though their attitude to releases during this time has been measured and meticulous: just one album has emerged so far, Here Is Where We Used To Sing (reviewed here, and one of my Best Albums of 2011) and a collection of EPs and singles.

The earliest of these EPs, painstakingly drip-fed over an 18-month period from late 2005 to mid-2007, formed the Neither Speak Nor Remain Silent trilogy, comprising Bloom, Huge and Allure. The tenth anniversary of this trilogy’s release in a gorgeous limited edition box set, supplemented with three bonus discs containing reworkings of the material by The Hafler Trio, was just last month. Before getting to their new music, i should say something about this trilogy, as it ranks among the most genuinely astounding, epiphanic music i’ve ever encountered. Had 5:4 existed in 2007, i would have bent the rules and made it my album of the year. In describing them as ‘experimental electronic folk’, i’m perhaps obviously struggling to articulate where exactly Fovea Hex most comfortably fit. Folk is surely the group’s most defining feature – spearheaded by the unaffected natural beauty of Clodagh Simonds’ voice – yet the complexity of the soundworlds that are woven around her voice encompass experimental electronics, field recordings and ambient music (Brian Eno, Robert Fripp and Colin Potter were among those involved in the trilogy’s creation). Where the ’60s expanded folk music into ‘electric folk‘, Fovea Hex exploded it into ‘electronic folk’, and on Bloom, Huge and Allure, this found expression in a sequence of songs and interludes that, ten years on, continue to resonate with sheer authenticity, laden with echoes of the past while its entire demeanour is ultra-modern, with infinite sonic scope. Though long sold out, the trilogy is available via Bandcamp, and while this lacks the dazzling additional Hafler Trio meditations – the last of which lasts an entire hour – it nonetheless stands as one of the most significant and radical musical landmarks of the 2000s. Read more

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Mind-bogglingly beautiful: Fovea Hex – Here Is Where We Used To Sing

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Clodagh Simonds likes to take her time. Following an early spell of musical incandescence in the late ’60s and early ’70s (in her own group, the fascinating prog folk outfit Mellow Candle), the Irish singer was content to hover in the fringes for three and half decades before taking centre stage again in 2005. But even then, her return was a gradual one; in a new guise, Fovea Hex, Simonds took a further three years to unveil a one-hour cycle of music, titled Neither Speak Nor Remain Silent. But what music it was! the nine tracks—released as three EPs: Bloom (2005), Huge (2006) and Allure (2007)—did nothing less than reinvent from the bottom up the notions of what song is and can be. This was no irreverant act of avant-garde ruthlessness, however; Simonds’ folk leanings (and they are only leanings; she has repeatedly stated that she neither thinks of herself as a folk singer, nor does she feel part of a tradition)—despite their proximity in an apparently alien context—were loudly and proudly proclaimed seemingly at every moment. It was, in short, an almost incredible blending of ancient and modern ideas, an enterprise made all the more successful and telling by the contributions of such figures as Brian Eno, Colin Potter, Carter Burwell and The Hafler Trio‘s Andrew M. McKenzie, who also mesmerisingly reworked each EP for an accompanying CD series.

That choice of title, Neither Speak Nor Remain Silent, could not have been chosen more wisely; it encapsulates perfectly the paradox confronting the listener in Fovea Hex’s music. On the one hand, as already stated, the folk elements are emphatically foregrounded, and folk music is at its heart communal music, not to be sat back and listened to, thought about and critiqued; on the contrary, it invites our participation, we are compelled to join in, to speak. Yet equally emphatic is a profound sense of ritual—not exactly a religious sense, it’s more diffuse and unfocused than that, but nonetheless a potent, perhaps pagan forcefulness that invokes a rather different kind of response. Rituals are communal acts too, of course, but participation here has more ebb and flow; at times, whether by rubrics or by our inner sense of the numinous, we are compelled to be silent. This unique, magical paradox has returned in dazzling fashion on Fovea Hex’s new album, Here Is Where We Used To Sing, released last month. Read more

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