Elle Osborne

Levity and gravity- An interview with Elle Osborne

~ Michael Stevenson ~ Leave a comment

by Alex Gallacher | Folk Music UK

In June this year, Elle Osborne released ‘If You See a Rook on Its Own, It’s a Crow’. The album was reviewed by David Morrison who declared it a “bona fide masterpiece”. In his introduction he referenced words used by David Tibet when talking about the music of Shirley Collins, it’s these words which sum up Morrison’s feelings towards this Elle’s album…“so intimate, and true, and beautiful, because it’s real…when people feel something that is so true…and so innocent…their hearts open, their hearts respond.” I couldn’t agree more.

This interview was planned for earlier in the year following the album release but for reasons which Elle talks about below, it required a more considered response to some of the questions I asked. I’m immensely grateful for her honesty and the time she has taken with her answers, it couldn’t have been easy but as Elle says, these personal experiences also “raise issues about universal experiences, which aren’t necessarily being talked about much.” I hope this maybe starts a dialogue that needs to be taking place.

Watch her new video for The Offing, on which she talks more on below.

While many know Elle best for her album releases, she also composes for dance, and makes sound installations. These have included LongLines for the National Fishing Heritage Museum, Brigg Fair, Dark Nights celebrating 800 years of the Lincolnshire Gypsy horse fair, and Stand Apart at Fabrica gallery, Brighton.

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Music Review” Elle Osborne “If You See a Rook on Its Own, It’s a Crow”

~ Michael Stevenson ~ Leave a comment

By Mike Davies | the bright young folk review

While I’m ashamed to confess I wasn’t aware of Lincolnshire born singer Elle Osborne until the release of her almost wholly self-penned It’s Not Your Gold Shall Me Entice, its cover featuring her grandmother, who gave The Watersons their first club bookings, getting stuck into a festival drinking contest and underlining Osborne’s pedigree.

I was instantly hooked and have been eagerly awaiting this follow-up. Produced by Stereolab’s Joe Watson, it sports an intriguing title, apparently deriving from an observation made by her father and forming part of the lyric to the opening track, Birds of the British Isles.

The number makes references to knowing “the heft of heron and the light of blackbird calls” but not the country’s entire ornithological spectrum as a springboard for deeper concerns. She sings “I know what to say to people when they pick on you / And I’ve almost learnt to greet the haters with loving smiles”. Like many of her songs, she has knack of catching you offguard.

Alasdair Roberts reprises his guest appearance from last time around on harmonies, the album also featuring contributions from Alice Mary on guitar and bass and both Alex Neilson (who’s hailed her voice as a cross between Lal Waterson and Nico) and Stephen Hiscock on drums.

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