It’s a very rare occurrence to stumble upon an artist whom you find to be both refreshing yet somehow like an old friend, in the stories they share and the emotions they stir up. Watching Rhode Island’s Brendan Glasson play under the moniker Vio/Miré on Wednesday night; supporting David Thomas Broughton; was just one of those occasions. Having never heard of him before I was astounded by the intensity and sincerity of his performance that had something of the tender and exposed emotional air of Conor Oberst about it.

Over the weekend he supported Vadoinmessico at Carnivale’s Mind the Gap launch night. The new night at the Aldgate venue aims to ”provide opportunities for young people and professionals by way of creative mentoring” while improving the prospects and opportunities of the young East London community, allowing and encouraging them to get involved with live music events. I was lucky enough to catch up with Brendan before his second UK performance for a bit more of a chat:

“I played in a band with my best friend the day I got my guitar…I had no idea what I was doing” Glasson jokes of his musical beginnings, “and then I started writing the Vio/Miré songs five years ago”, with the first album and collection of songs from that project being recorded in late 2005. The project has been growing in various guises since its birth and with a collection of recordings so lyrically impressive his live performances work with both the fuller instrumentation of their recordings, and just as successfully solo with a nylon string, or electric guitar.

Vio/Miré’s work is a moving picture postcard of striking landscapes matched with a style of storytelling evoking an ambivalent loneliness and hope, recordings of lo-fi bedroom folk stitched together with segments of ambient sound art. Bedroom folk I guess is as good a description as any: Glasson’s recording process is just that, “it’s weird to even call them albums because I just record them at home in my bedroom”. For January 2009, his latest, he recorded it at friend Alex Sommer’s home in Reykjavik after the pair toured with Icelandic band Parachutes. “Alex [of Parachutes] offered to let me record it at his home studio. He also has lots of super instruments, [pump organ, piano], and the guys from Parachutes play nice instruments so it was really good to work with them on a different project”.

For a performer whose lyrics and their halted delivery kept listeners at Broughton’s show, and again at Carnivale, hanging on every word it is interesting to note that for Glasson lyrics come later, though by no means secondary to the melody:  “Only very recently have I started writing the lyrics first, I always do it the other way round. The songs for the record that I’m working on now I’ve been writing the lyrics first, maybe because I’m travelling without a guitar”. Lyrics are about “a kind of extension of reality” he tells me, and the liberties an artist can take in finding inspiration in a multitude of sources: the personal, imagined and renewed, and it seems Vio/Miré isn’t short of such material. His lyrics are deftly constructed windows into a world of personal stories, “beyond possible” stories, and stories in which he hopes to “illustrate an emotional or intellectual thought”.

In addition he borrows a lot, as the best artists do, recycling ideas of his own and those of the literary greats, where he finds prose containing “so many gems it would be a shame not to want to employ them, putting their [observations] into a new context”. From the almost fairytale like “Everywhere You Had Been” to the similarly titled ”A Place Where You Had Been” the lyrics flit between worlds entirely imagined; where ghosts talk to our singer from beneath a frozen lake, back to the real world and the universal and lonely desperation in awaiting a phone call “expectantly, life depleting continually, but gaining substance quite equally”.

With this artist it feels there is little chance of him becoming pigeon-holed by genre: “I can imagine making a record that was entirely soundscape and being really happy with it, and at the same time being happy with an album of ten folk songs.” Likewise with an ever-changing line-up of musicians contributing live and on record they too allow for a constantly developing sound. Speaking on January 2009: “I try to use the resources I have available at the time. If I know someone who plays trombone I think ‘there’s got to be some chance to use the trombone!’”.

The collection of songs he is currently penning he is hoping to record at a “friend’s parents house in Cape Cod. It’s 150 years old which is quite old for the US“. Glasson has found travelling elsewhere in order to record to be a more productive approach as ”there aren’t the social distractions there are at home…it’s nice to spend the time solely on making a record“. If the self-released February 2006, written and recorded in Bolivia, and January 2009, are anything to go by he’s got a good thing going with this little recording tradition.

In this internet age where music downloads have become the new word of mouth, assisting in our access to the obscure and unheard-of it is somewhat astonishing that Vio/Miré has been tucked away so tightly. While the recordings are generally made into around only 100 or so copies “so [Brendan] can give them to [his] friends“ downloads here prove that they are of no hindrance, instead aiding accessibility to music long after the extinction of their physical form. “Sometimes I think it’d be nice to be on a real record label that could make lots of copies…but I noticed a couple of years ago someone had uploaded one of my discs on a torrent site, that made me really happy because there were only 125 copies of that album, I never made any more.”

There is something altogether humbling about Vio/Miré’s passionate production of music, how he prefers “working on a much smaller scale, playing in a living room” to a small crowd, and heading back home to Providence in between tours to “find some odd job [he] can do for a short amount of time to make enough money to go on tour again.” He suggested house painting when he heads home, the kind of job he usually does with friends, in the sun, listening to music.

My fingers are crossed that he finds a big old house with enough days work in it to allow him to head to Cape Cod to record the songs he spoke of, hopefully this time making a few more than 100 copies!

A Nice Spot Somewhere in the Wood:

Shrinking Coasts:

http://www.myspace.com/viomire

http://www.facebook.com/#!/mindthegaplondon?v=info&ref=ts

The mighty Saltfishforty, comprising of Orcadians Douglas Montgomery on fiddle/viola and Brian Cromarty on guitar, mandola and vocals have steadily been wowing audiences with their infectious and feisty rhythms since the release of their debut album Goose Music way back in 2003. The boys have returned with another sparkling album, Netherbow – their third after 2005’s Orkney Twister, full of characteristically brisk reels and frisky jigs.

There has been a bit of a break between Orkney Twister and Netherbow but the boys have been busy, not only have they had additions to their own family but they have also been working hard with their other band The Chair and their 2007 release Huinka (The Chair will also be playing at the Falkland Big Tent Festival later this month for anyone heading to Fife).

The title track, ‘Netherbow’, perfectly sets the pace for this slightly less rowdy and more mellow album from Douglas and Brian which highlights the boys’ interest in the traditional fiddle music of their native isles. The strathspey, by late Rousay fiddler Jimmy Craigie (whose work is rightly going through a well-deserved appreciation following the 2010 Orkney Folk Festival) is a fine introduction to a confident album which masterfully mixes traditional Orkney tunes, such as ‘The Bride’s Lament’ and ‘The Holm Band Tune’, with more modern compositions.

Saltfishforty are well adept at combining old and new and Netherbow includes a few examples; Kirkwall’s David Horne’s poem “The Cock o’Byam” is interpreted into a snappy Seth Lakeman-esque narrative of dark deeds and murder. The mournful ‘A ring on her hand’ is a similarly gutsy interpretation, inspired by George Mackay Brown’s “The Sea-King’s Daughter” and a traditional Orkney melody from the Balfour Collection.

The boys are no slouches themselves when it comes to composing as the bustling ‘The Glassel Jig/Stoot’s Jig/Reel for Karen’ testifies. Douglas shows his mettle on ‘Danielle and Keith’ and the sublimely brooding ‘Svecia’ (inspired by an eighteenth century ship wreck off North Ronaldsay which poignantly provided salvage material for Douglas’s viola used on the track) whilst Brian equally demonstrates his talent as a songwriter on ‘Yellow and Blue’ and ‘A Tune for Lucy’.

Adding in a few bristling reels from Cape Breton, including the late Jerry Holland’s ‘The Normaway Inn’, Netherbow is a lively album, brimming with Douglas’s sweeping fiddle and viola and Brian’s thrusting guitar and mandola (the boys do draft in The Chair’s Erik Laughton for occasional percussion). If you like your trad played with flair, passion and spirit then you can do no wrong with these two Orcadians.

Due for release on 26th July 2010

www.saltfishforty.co.uk

Martha Tilston’s Lucy & The Wolves is her third solo album (although her backing band The Woods feature heavily throughout ) and is her first new album since 2007’s Of Milkmaids and Architects (2008’s Till I Reach the Sea being a compilation EP).

The album marks a move away from the more political and social concerns of her earlier work (although these are still prevalent on Lucy & The Wolves just more subtly so) to a greater concern with love and nature (perhaps expected due to Martha’s break from recording to have a baby). Lyrically the work is more complex than her earlier work and seamlessly blends heartfelt worldwide concerns (climate change is a constant theme) with more personal, yet universal, issues.

“350 Bells”, for example, inspired by the World Council of Churches campaign to ring their bells on 13 December 2009 to highlight the issue of climate protection and change during the United Nations summit in Copenhagen, is a modern folk-protest song, with mentions of white shirts, delegates in meeting rooms, riot gear and the anxious chorus: ‘we are living in interesting times’. Martha’s talent, however, is in her ambiguous lyrics which never overtly preach; remaining loose and interpretative in their narrative.

The sweet and fragile “Lucy” is a much more personal piece, soaked in the sheer Englishness of its folksy atmosphere, with talks of fire glow, old sofas, barns and wood smoke, Martha’s voice is even reminiscent of Vashti Bunyan at times. Indeed the song reflects one of the key themes of the album; the declaration and promise of love. Affirmations of affection populate throughout; “Rockpools” with its opening line ‘I’m an acorn first, an old oak next’ dwells on the inequality of love whilst simultaneously offering a worship to Cornwall’s coast and a nostalgia for things past. “The Cape” provides a similarly powerful avowal with the refrain ‘I’d love you till the Capes fall in’.

The promise of change is evident in the life-affirming and rising “My Chair” with its pledge of ‘a new wave has begun’ and the ‘glorious waves that carry us away’. “Seabirds” suggests freedom and respect using the age old metaphor of the bird as symbol of liberty: ‘two terns flying over the quay … no need to hold each other down’. “Who turns” finds Martha at her inquisitive best providing, or rather demanding, the ambiguous question ‘who turns the wheel?’

“Searching for Lambs” proves Martha’s folk worth as she delivers an ageless rendition of the traditional folksong. Recorded live in a Somerset forest, with only the sounds of the breeze and the evocative cackle of a murder of crows for accompaniment, the confident rendition recalls Anne Briggs in its simplicity and force. Shirley and Dolly Collins and June Tabor have all recorded versions of the same track and Martha’s version is a first-rate addition to this lineage.

With so much love on this album it runs the risk of becoming sickly sweet but Martha has a mellow and sensitive touch which steers the album in the right course and provides a melodic, timeless and mature piece of work. Martha’s poetic and ambient lyrics perfectly suited to her soft, silky voice. The plush blend of bass, trombone, guitar, piano, bouzouki and mandolin are ably supplied by The Woods’ Matt Tweed, Tim Cotterell, Luke Parker, Beth Berry, Matt Kelly, Robin Tyndale-Biscoe, Mark Fisher and Cate Ferris whilst Lamb’s Jon Thorne’s evocative bass on “Rockpools” recalls Danny Thompson’s work on Nick Drake’s “Five Leaves Left” and, like that album, there is a real concern with nature and the eternal throughout. All of the songs are rooted in the land; places and memories are important as is the promise and hope of change.

Lucy & The Wolves is a cracking album, beautifully produced, which illustrates Martha’s growth and maturity and is a fine compliment to her earlier work. Those new, and not so new, to Martha will find the album an absolute delight.

Buy CD:Amazon UK

Gabe McVarish hails from Northern California where he learned his first traditional tunes on the fiddle. Having twice won the U.S. Junior National Scottish Fiddle Championship by the age of seventeen, Gabe travelled to his ancestral homeland of the Scottish Highlands where he spent a year studying music under the tutelage of fiddler and tradition bearer Angus Grant Sr. After a couple of years travelling, busking and playing in Irish and Scottish pubs from Amsterdam to San Francisco, Gabe settled in the Highlands of Scotland. Having the opportunity to meet and play tunes with the wealth of great musicians in the area, Gabe was soon performing full-time locally and internationally and has played and recorded with a rich diversity of bands, including Cliar, Croabh Rua, Corner House, The Black Rose Ceilidh Band, Fiddlers 5, Phamie Gow and Ewan Robertson. Gabe also plays regularly with Dannsa.

The formation of Dàimh in 1998 was a milestone in Gabe’s career. These like-minded local Lochaber musicians are now hailed as a ‘Gaelic super-group’ having released four albums, touring extensively and appearing on National TV and radio. After a three-winter sojourn in Glasgow, Gabe graduated from the R.S.A.M.D. with a BA in Scottish Music in 2003. The subsequent years have seen Gabe greatly expand his skills, working as a session musician in studios from Ardgour to Edinburgh and London’s Maida Vale. His versatility as a tutor has seen him highly sought after, having taught at festivals and higher education establishments including the University of Limerick. He also teaches regularly in Lochaber.

This album is a culmination of fiddle styles and repertoire from every side of both the Atlantic and the Irish Sea, and Gabe’s love of the traditional music of the Celtic Diaspora shines throughout. He is joined by the very talented musicians: Ross Martin (guitar), Martin O’Neill (Bodhran), Iain MacDonald (flute), Eamonn Doorley (bouzouki), Mac Morin of Cape Breton (piano), Jarlath Henderson (Uillean pipes), Luke Daniels (button accordion) Ewan MacPherson (guitars), John Sommerville (piano accordion), Duncan Lyall (bass) and Angus MacKenzie (whistle and Border pipes).

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Inter-Be is the debut album by PETER WOLF CRIER, the Minneapolis-based duo of Peter Pisano and Brian Moen. The album was born on a single summer night when Pisano felt a torrent of creativity after what had felt, to him, like an interminably long dry spell. He shared the songs with Moen, and over the months that followed, at Moen’s home, these rough-hewed tunes became what they are now: a confident collection of songs, but deceptive in that their very guts still reflect the thoughts of a man in transition.

Pisano’s is not a new songwriting voice. He is best known for being part of the Wars of 1812, an ascendant Wisconsin-bred quartet. Their first album together, Status Quo Ante Bellum, was more than just an album. It was relocation and aspiration and Pisano’s lyrical Eden. As the Wars went on hiatus, Pisano continued to hone his craft, keeping his days full as a teacher at a small private school while fine-tuning, at night, the songs that would soon become Inter-Be. Feeling confident in the songs, Pisano approached Moen, a seasoned drummer and engineer best known for his involvement in Laarks and Amateur Love. After being asked to add some percussive elements, Moen added his thundering drum rolls and perfectly timed fills, but he also added something much more: a melodic soundscape that would complete the evolution of the songs. So was born the partnership that is called Peter Wolf Crier.

Jagjaguwar is no stranger to their near northern neighbors’ musical culture. With their ears tuned into labelmates Gayngs, Volcano Choir, and Bon Iver, Peter Wolf Crier fits firmly into their developing Midwestern curatorial. This internationally traveling exposition of the Northern Midwest’s best and brightest all starts within a couple hundred miles radius, stretching from Minneapolis to Milwaukee. For the seemingly endless rolling plains and valleys of our local geography, that is right next door.

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Crutch & Cane
Hard As Nails

Trailer to Hard as Nails:

WGTB Live Session:

The Staves, comprising of sisters Jessica, Camilla and Emily, are a melodious folk trio from Watford who are garnishing some well deserved praise for their infectious and seductive harmonies. Their new EP, “Facing West” is an excellent introduction to the girls’ music and a real promise of treats to come.

“The Fire” sang with simple accompaniment of Emily’s finger clicking and Jessica’s tapping of the guitar for rhythm is a sweet and welcomingly old-fashioned song. There’s a taste of Appalachian gospel and old-time Americana but with a good old fashioned dose of British bittersweet flavouring climaxing in a rousing finale.

“Facing West” illustrates Camilla’s ability on the ukulele, complimented by Jessica on guitar and piano. Camilla’s voice striking the right balance of wistful fragility, the sweetness of the harmonies echoing the longing of the lyrics perfectly.

“Mexico” on the other hand is a much larger song (at least in terms of arrangement). Taking the lead on vocals Jessica also provides guitar and piano whilst the Fables’ Oliver Hardaker and Mike Halls provide percussion and mandolin respectively.

Throughout, Jessica, Camilla and Emily’s harmonies complement each other perfectly.

Folk Radio recently had the chance to interview the girls on their return from a tour of Ireland.

For listeners new to The Staves can you tell us a little about how you got started and your early influences?

Camilla: Well, we always used to sing around the house, and then, one summer, we decided to do an open mic night at our local pub. We had a laugh, so carried on doing them through the summer until we thought, let’s just do a gig and see how it goes. We did loads of Joni Mitchell, The Beatles and CSN&Y covers. They’re bands we grew up listening to (along with Simon and Garfunkel and other harmony based bands). We take a lot of inspiration from all those old classics.

As sisters, how do you find working together?

Emily: A bloody nightmare!…

Jess: I don’t think we could imagine being in a band with anyone else really. There’s just an openness you can have with siblings that must be hard to get with regular band members.

Camilla: …It’s a blessing and a curse…

It’s been a busy year for you, first Glastonbury in 2009, the recording of your EP, supporting Joshua Radin on his UK tour and now a whistle stop tour of Ireland, how has it been?

Camilla: It’s been really, really fun. Knackering, at times, but a great experience. We just got back from Ireland the other day. We had so much fun. The Irish crowds are so warm and always up for a laugh after the shows.

Emily: We were supporting and singing with a singer/songwriter called Christof. He’s brilliant. Our music went so well together.

How did the Joshua Radin tour come about?

Jess: I met him when I was doing a support gig for him in London with Thomas J Speight. He asked me to tour with him in America, doing support and backing singing, and then when he was over here for his UK tour he asked us all to do the same thing.

How’s the tour going? How are the audiences responding to you?

Emily: The tour went really well. It was a fantastic opportunity to play in large venues and it was really encouraging to get a good response from a big crowd. Shepherds Bush Empire was a really special gig for us as we’d seen so many bands play there before – it’s one of our favourite venues.

There’s a definite Americana influence throughout your song writing and vocals – where does this come from? Was music a big part in your upbringing?

Camilla: Country and Americana music is really rich in harmonies, so I think our music sounds a bit Americana because it that’s how we’ve always sung together.

Emily: Our parents are both very musical souls and there was always music on in every room of our house. I remember when our parents friends would come round they’d always bring guitars or sit round the piano singing “The Times They Are A Changing” or old Grateful Dead songs, so we grew up with music playing a big part in our social lives, which is how music should be I think.

You write your own songs, how do you find that process? Is it a group effort?

Jess: Some songs we write together, and then some are individually written and we’ll all work out harmonies together and any arrangement. We’re starting to write more together which can be more fun and less introverted – it’s always great to share ideas with each other and end up with a brand new song.

Do you find yourself drawn to particular themes or subjects in your song writing?

Jess: It’s hard to say really. It’s always kind of awkward analysing your own song writing. We write about the experiences in our lives – relationships and stuff – as well as what we see going on around us, which I guess is kind of obvious. Basically anything is worthy of a song.

Myspace

photos: Broken Path / Thomas J Speight

Wig Smith is the other half of folk duo The Hand which comprises Bristol singer-songwriter Rachael Dadd. At the end of April he announced the release of his solo debut A Means of Escape Through a Hedge.

There was little background information I could track down on this album other than the plentiful insights from the artist himself – the best we could have hoped for! Much like the lyrics and analyses he posted along with announcing the LP’s release via his Myspace page he seems to be of the ethos where creative productivity is something that is shared and traded in return for something akin; stating on the site “my album is available for £8…but if anyone wants to do a swap, I love doing swaps!”

In much the folky sense then Smith is all about trading stories, reworking tales, sharing knowledge and exposing secrets. His album is a collection of delicately crafted songs with rock hard centres of concrete ideas, as concrete perhaps as the sculpture “Flying Shaman” which inspired the track “Ashevak”.

Showcasing his talents as a musician he plays kora, ukulele, piano, guitar and harmonium, with Hand counterpart Dadd providing clarinet and additional vocals. The abundance of instruments aside it is the kora, a 21 string harp-lute, that really makes this album shine, lending Smith an almost Joanna Newsom-like quality, not solely for the instrument’s likeness in sound to that of the harp, but for his style of storytelling which is both as fanciful, mischievous and at times heartbreaking as Newsom’s herself. Take the lyrics to “The Sentience of Toes” in which the fingers of the feet “meet with a snail and a slug, in warmly dewed morning grass”, bringing to mind the mollusk weddings of Newsom’s track “Inflammatory Writ”. Smith’s song of the promise of spring is made as charming and quintessentially English as Beatrix Potter’s tales.

Opener “Frost” draws its inspiration from a Russian fairy tale Dveenatsat Meesyatsev (Twelve Months/Father Frost), with typically chilling lyrics “Mother, I’ve nothing to let me know/how to salve a suitor singing blue songs/that numb me more with every word I hear”. Other literary references include “Bellow’s Song” which recounts the artist’s first hearing of The Adventures of Auggie March author Saul Bellow’s death. Nature songs “Ivy” and “Elm Tree Tall” are typically in keeping with traditional folk songwriting in their subject matter. Aside from all this, much of his songs are derived from self written poetry: “The Sentience of Toes” and unrequited love poem “Keeper of the Swans”.

The intelligence of his song writing, so referential to landscape and nature, the changing seasons, literature and fable; along with Smith’s own reflections on personal moments of poignancy, make the album unique in its array of narrative. Along with his vocals, which echo Richard Thompson, it possesses a timeless quality allowing Wig Smith to seamlessly bridge the gaps between his stories of modern-day springtime and desolate Russian winter.

For album details and latest gig dates visit: www.myspace.com/wigsmith

Duncan Chisholm has released Canaich, the second instalment in his Strathglass triology, on Copperfish Records. This follows on from Farrar, the award winning first album in the trilogy, inspired by the highland landscapes populated by his ancestors.

In 1988 Duncan Chisholm was a founder member of Wolfstone; within two years the band had become a full time job and one of Scotland’s most talented musicians was at the start of an impressive and productive career. Duncan’s first solo album, Redpoint, was released in 1997; a homage to the great poet Sorley MacLean, taking him in a very different direction from Wolfstone. Among his many projects, Duncan has also worked extensively with Julie Fowlis, making a valuable contribution to her live and studio performances.

Canaich’s brief opener, I Horo’s Na Hug Oro Eile, is soft, melancholy, and comes out of the mist like a voice of the ancients.

Camhanaich air Machair / Captain Carswell introduces James MacKintosh’s percussion and Duncan’s light, lively touch, reminiscent of Alasdair Fraser, is given rein in a pair of tunes by Donald Shaw and Willie Lawrie. Tony Byrnes’ gentle guitar carries the pace expertly throughout.

Duncan’s first self-composed tune on the CD, Craskie, is a sweet; light air in which he visits the area of his family’s farming origins. The pace quickens with Isaacs Welcome To The World, a fiery tune to celebrate an important arrival. There’s another welcome arrival in the form of Rick Taylor’s brass harmonies; soothing and understated behind the fiddle, guitar and percussion. Iain MacFarlane’s whistle plays around with the gentle brass and the full effect is pure joy.

Phil Cunningham’s beautiful ode to the sunrise, The Gentle Light That Wakes Me, mellows the pace again. Hamish Napier joins on piano and, I think, Patsy Reid on viola (someone put me right if I’m wrong!). The viola makes a fine partner to Duncan’s low, breathy fiddle style. Chasing Daylight is livelier and Ali Hutton’s whistle evokes a westward journey building to a full company (strings, brass, percussion & keyboards) rendition of this uplifting melody by Gary Innes.

We’re returned to Gealdom in the traditional lament, Mo Run Geal Og. There are so many versions and variations of this classic lament; it’s refreshing to hear the simple melody given space in an instrumental rendition.

Michael McGoldrick’s The Desert Road picks up the pace again. Rhythmic, and injected with some dynamism by Ross Hamilton’s electric guitar and bass.

Caoinradh Johnny Sheain Jeaic, incorporating Gordon Duncan’s beautiful tear-jerker, Lorient Mornings, returns to Duncan’s haunting, low sound.

Loch Mullardoch / The Oblique Jig starts off with a return to Chisholm country then treats us to Niall Vallely’s minimalist jig. The Exile Reels making their highly energetic way from across the Atlantic are Mike Katz’s The Head Roaster and The Last Mile by Mark Stewart; with the latter given a resonant bass foundation, a gorgeous Gaelic voiceover courtesy of Cliar’s Ingrid Henderson, and a stirring combined fiddle performance by Duncan Chisholm and Iain MacFarlane.

Mar A Tha closes the album as it began, in an ancient, melancholy voice; soothing and sublime.

It’s also worth mentioning the album’s artwork. Jackie MacKenzie has produced a series of paintings evocative of John Lowrie Morrison’s bold, wild highland colours. The combination of dramatic, tempestuous landscapes, swirling seas and the contrasting softness of snowdrops beside fallen rubble (which surely carries a message) compliment the spirit of this album beautifully.

Although Canaich feels mellower, less complex than Farrar, Duncan’s move to the west in his geographical trilogy is just as wonderful a collection of highland music. His soft fiddle tone adds a haunting voice to the music and the inclusion of two other fiddle players in the album is a clear indication of Duncan Chisolm’s justified confidence in his own music and the direction in which he takes it.

Order CD

(due for release 21 June 2010): Amazon UK

Links:

www.duncanchisholm.co.uk