Of all the differing music styles that get labelled as being dark and ghostly, as possessing a spiritual quality or conjuring an air of the mysterious people mistakenly head to things like gothic rock, progressive metal or the minimal soundscapes of electronica before they even think to explore traditional folk. But that is so wrong, because this is the music that, when it is cooked and stirred as tastily as Louise Bichan has done on this album, can really bring the dead back to life. There is a reason the dark arts obsessed Jimmy Page ended up diving into the English folk realm on Led Zeppelin III, and it was all down to the mystical qualities summoned when fresh life is breathed onto these ancient tales, rhythms and tunes. This is the sound of a picture-postcard, old-world village green, Tudor houses surrounded by fields, forests, streams and wildlife. But scratch the surface and hidden within the weaving and stitches of the landscape is the residue of lives that have occupied these spaces for centuries. The initials carved into a fence, names scratched into the side of a tree trunk, the families with memories that go back generations and all the departed souls still alive inside their minds; if you shut out the electronic trappings of the modern world, something in your special awareness changes in these environments and you feel the spirits start to sing. And if you think this is all a load of blue-sky thinking nonsense, then fair play and you are probably right but just listen to and lose yourself a while in this mesmerising album by fiddler Louise Bichan and you will surely, at the very least, feel a tingle of the kind of atmospheric sensations I am describing.
‘Binnorie’ is alive with friendly ghosts and the music they sail by on is positively aglow with enchantment and wonder. There is history here and Louise digs into ancient folklore and fables wholeheartedly without ever treating it like an academic endeavour. In fact, she pays these voices and music the ultimate compliment, by resurrecting them into the modern-day musical landscape in the most emphatic manner. And as eery as some of these old field recording characters can appear at times, they present us with an ensemble cast over which these songs and reels can launch into our world. And the playing is a thrill, it has energy and bite, these are pieces that trigger responses in both the head and the feet. Of the recording, originating from her annual ‘All Hallows’ Eve’ show which has been realised with a touring ensemble of Ethan Setiawan on mandolin, Connor Hearn on guitar, Brendan Hearn on cello and guest vocalists including Aoife O’Donovan, Kris Drever and Rachel Sermanni, Louise explained. “This album is built on the time of year when we Orcadians gather to recount eerie tales and maritime folklore. Blending traditional tunes, my own compositions and archival recordings it is a child ballad lover’s dream. And yet, it incorporates 21st century technology.” This it certainly does although the textured synths played by Neil Pearlman across five of the thirteen tracks are applied unobtrusively, their place in the mix a valuable atmospheric asset that does not snuff out the overall spectral mood created.
And for all the dusting down of ancient materials, arguably the biggest draw on ‘Binnorie’ might be the outstanding original material Louise brings to the table. ‘Spooky Night Cat’ is a strident piece of instrumental fiddle music, one that begins with familiar phrasing but snakes out into a scraping, scratching thing of unpredictable abrasion. It is played with a bit of fire and brimstone and as the fiddle reaches some distortion, it is like a piercing pair of cats’ eyes have suddenly caught sight of you in the dark. Later on in the set, ‘Hamars O’Syradale’ is a traditional arrangement by Bichan, opening with ghostly archival vocals from Ethel Findlater, but the way it bursts open like a flower into a stomping bluegrass influenced, melancholy cloudburst marks this artist down as one bursting with ideas and a vivid sonic imagination. It is my favourite piece on an album that has no weaknesses and once hooked, you will be sure to return to this one many a time. Among the other high points is O’Donovan’s beautiful aching vocal on the centrepiece title track. The brooding opening Scottish ballad ‘Greenwood Sidie-o’ is taut, tense and dramatic as it recounts the story of illegitimate twins haunting their murdering mother. ‘The Standing Stones’ is a potent mash up of fiddle styles including a three-finger banjo part played by BB Bowness and additional vocalist Brian Cromarty on a tune singing of fated lovers. Later the seven minute ‘The Golden Chain’ absolutely justifies its epic length with a series of infectious changes and gleaming folk riffs before pulling the curtain back on some possessed and dramatically acted dialogue. Overall, this is a shimmering and deeply populated piece of folk magic that will surely feel like a piece of rare audio gold dust for all those who stumble upon it, traditional folk at its finest.
Danny Neill
You can find out more about the music of Louise Bichan via this link: https://www.louisebichan.co.uk/
