Lizzie Nunnery and
Vidar Norheim have released their new album today (http://www.lizzienunnery.co.uk/). It is available in all the usual places itunes,
emusic and from the website. I want to use this post to review it as I think it
is excellent and a contender for my favourite album of the year.
I have to admit
right at the beginning of this review that I asked Lizzie for a review copy of
the cd. I did so for two reasons, one that I wanted to review it and the other is
I was really impatient to hear it, especially after I had caught their
performance in Glossop. I have been listening to it for about a month now.
A little background
for those of you who have not read the interview I posted a while back. The
multi-talented Ms Nunnery, playwright, poet, musician and songwriter released
an album in 2010. It made my top ten of albums of the year. There were a
mixture of personal and political songs and it was firmly rooted in the
north-west of England, where I had grown up. Lyrically it was rich, romantic
and passionate. In short it ticked all the boxes.
So, the new album. It
is produced by her husband and co-performer, Vidar Norheim, himself a talented
musician and a member of Wave Machines (who are really worth a listen, but I
digress) and The Solid Air Band (a John Martyn appreciation band). Vidar was
named in 2011the most promising song writing talent in a competition in his
native Norway. This guy is a serious musician and live the rapport between them
is a joy to behold.
So what’s so amazing
about this new album then?
For a start the
sonic palette has broadened, there is a sophisticated musicality to the album.
It is well recorded and the arrangements underline and compliment the songs. There
is a richness to the arrangements that adds to the listening enjoyment, that
draws the listener into each song. You can tell this album is a work of love
and passion.
Lizzie’s vocals
have taken on a new strength as well, this is evident from the first words she
sings: They say the end of the world is
coming. Here is a singer who has echoes of an Old Testament Prophet, there is
anger. Her passion and humanity ring out.
And the lyrics are
as good as you would expect.
For me a number of
themes are explored, there is an apocalyptic feel to some of the songs, there
is a political commitment to our humanity in other songs, and always there is
love. Inevitable, inescapable, and ultimately redeeming love. I take my hat off
to her lyric writing skills.
Let’s start with
the apocalyptic. The opening track on the album Evensong has this for the second verse:
They say the
end of us all is coming
Broken ice and
falling rocks
Fierce landslides
and stopping clocks
A high tide to cover us they say
This is a rich
brew, there is much to mull over just in those four lines. I like the visual,
kinetic images she has assembled, broken ice, falling rocks, the idea that a
landslide can be fierce and of course the stopping clocks. Lizzie lyrical
skills have developed at a prodigious rate since the first album.
But this song is
not simply a catalogue of the end of times. What stands out is the final line:
I’ll be yours ‘till every bright thing fades.
Here is the first
example of the redemptive power of love. The narrator cannot do anything but give
their love to another, even at the end of the world there is the redemption, in
the face of all this, of unconditional love.
This is continued
in the second track Five Thousand Birds,
apparently based on an actual event when five thousand birds recently fell out
of the sky in America. Here the narrator sounds even more prophet-like:
So let the
taps run black and the children curse
‘Cause there’s
nothing more my heart can bear
When the
heavens burst on the quaking land
Won’t you be
my lover won’t you hold my hand
Visions of the impending
disaster continue on the title track Black
Hound Howling. The opening lines illustrate just what a superb songwriter
she has become:
Faster than
a running cat
The night is
at your back
Quicker than
the beating tide
The dark’s
electrified
She tells us:
Don’t say we’re
safe as houses
The house is
coming down
You hear
that black hound howling
That old
familiar sound
As I say though
there is more to this album than a pointing finger telling us of the approaching
disaster, there is a questioning of the current political situation and the
assumptions and platitudes that are banded about by politicians. The
penultimate track Don’t Look To Me
questions the assumptions at the heart of the Tory’s so called Big Society:
And what if I work
But nothing works for me?
And what if I try 'til my body bleeds
But I wasn't born special
And I wasn't born strong?
And what if I'm weak
Am I wrong?
What if I'm weak
Am I wrong?
And what if I'm ugly
And what if I'm broken
And what if I'm angry and untaught
And done hoping?
And what if I fought this country's war
And what if I wear this country's wounds
And what if my parents did before?
In all the vast acres of your society
It seems there's not a single corner left for me:
A single unprofitable commodity
Don't raise your head
Don't raise a hair
Don't look to me
But nothing works for me?
And what if I try 'til my body bleeds
But I wasn't born special
And I wasn't born strong?
And what if I'm weak
Am I wrong?
What if I'm weak
Am I wrong?
And what if I'm ugly
And what if I'm broken
And what if I'm angry and untaught
And done hoping?
And what if I fought this country's war
And what if I wear this country's wounds
And what if my parents did before?
In all the vast acres of your society
It seems there's not a single corner left for me:
A single unprofitable commodity
Don't raise your head
Don't raise a hair
Don't look to me
This questioning continues into the final track Poverty Knocks. The chorus is simply
stunning:
I heard a rumour we’re all winners now
If we’ll scrap for our dinner and laugh
while we drown
If we’ll play sink or swim while the
losers go down
All of us then will be sailors
All of us then will be sailors
Not only is this a condemnation of the contemporary
obsession with celebrities and reality television, it highlights how the
economic situation and the reduction of social care and support has brutalised
us all. There is also a subtle reference to Leonard Cohen’s song Suzanne, the second verse of which states
that Jesus was a sailor who realised that only drowning men could see him and
therefore says that all men will be
sailors until the sea shall free them. This is its turn references Robert Lowell’s
poem Quaker Grave in Nantucket,
possibly one of my all time top ten poems.
The song continues to question the fallacies of
the present government and their callous approach to those of us who require
support.
When
the day breaks in with an aging face
When
breathing in is a breathless race
Is somewhere below the line tucked away
I cannot end this review though without mentioning
the beauty of the lyrics. That Lizzie is a fan of the Beat Poets is obvious on
Cherry Blossom Tree, one of the two spoken word tracks. I was reminded of St
Jack himself:
All
the cherry blossom of Washington
The
hay-fevered snow storm of it
Sugaring
the city in half remembered Japanese myths
This is so beautiful. As is the opening of The Cold Has Come:
You
laid him down in the frozen ground
And
the snow hit us sideways
And
toppled our crowns
And
there were endless bells
But
not a sound
The
cold had come between us
What Lizzie offers us is humanity and the redemptive
power of love:
There
will be love beneath the snow
There
will be love beneath the snow
Don’t
ask me to promise
Don’t
ask how I know
But
there will be love
There
will be
Listen, this is a major album. It is part of the
grass roots change that is coalescing around us, in every town, on every
continent, as much as is Annabelle Chvostek’s Rise and the work of Sean Taylor.
There will be love.
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