In the close-knit world of English folk music, Leveret boasts an impressive pedigree. The trio’s Andy Cutting is renowned for his mastery of the melodeon, a type of accordion with a push-pull mechanism for intonation that imbues it with a wheezy kick.
The band’s fiddler is Sam Sweeney, of the flamboyant nu-folk band Bellowhead, and its concertina player is Rob Harbron — both are deft and expressive musicians in their own right. (The concertina is yet another variety of squeezebox, a small hexagonal specimen with a pure, invigorating honk.)
Within its respective milieu, Leveret might be considered a supergroup were the term not anathema to the band’s entire ethos: introspective, understated, minimalist.That’s not to say that Leveret’s music lacks spunk [ . . . ]
Read more at: Leveret Will Lift Your Soul With Squeezeboxes : NPR
It’s perhaps hard to imagine in today’s pop landscape, but back in the 1960s there was a definite insurrection happening in the folk milieu, a drawing of battle lines about what ‘folk music’ could be. The mindset of the folk revival of the previous decade, one of a reverence for tradition and purism, had fossilised into a stilted dogma of conservatism.
Many of the younger singers and musicians breaking through chafed against what they saw as a parochial and out-of-touch clique.From this unrest rose a triumvirate of folk bands whose musical explorations played a part in causing folk music to slip its traditional shackles and become, in the words of Rob Young in his book on modern British folk music Electric Eden, a “floating signifier to be plucked from the air and appropriated by anyone who could find a suitable framework”.
In one corner there was Fairport Convention, who grafted UK folk to a US country rock sound. In another, you had the likes of The Incredible String Band, whose hippy meanderings across north Africa and Asia resulted in strange instruments, new sounds and a positively kaleidoscopic freak scene of psychedelia.But probably the most beguiling and inscrutable of them all is Pentangle [ . . . ]
Read Full Record Review at: The Quietus | Reviews | Pentangle
In 2003, three teenagers started frequenting the Sun Inn in Stockton-on-Tees, County Durham. In the back room, they found the Stockton Folk Club in full voice. “We didn’t even know there was a folk club,” says David Eagle, the trio’s baritone, sitting in the self-same room today. “When someone started singing, I thought, ‘What the heck?’ But we stayed to listen.” [ . . . ]