zaterdag 1 juni 2019

The Hollows. Kim Thompsett

This music is so mystical. Music fit for a witches' sabbath at full moon in the darkest recess of the darkest forest. Kim Thompsett at the same time produces music that is so stately. In the leader of the Dutch police series 'Flikken Maastricht' there is this short clip of the female head of station who seems to be striding regally. It is that fragment the first two songs remind me of. They sound so official, so commanding. Not that the mood changes so much afterwards, with one very rocking exception, the reigns are loosened somewhat.

Kim Thompsett may be active in music for two decades, The Hollows is only her second solo album following 2008's 'Songs From The Uglee Meadow'. If it took her this long to come up with an album like The Hollows, than by all means, please take the time you need.

On this album Thompsett takes her listeners back decades and from there centuries are spanned with the music. The sound of The Hollows is very much extremely modern. She's not afraid to use modern studio techniques to make her voice come out better, nor to use some electronics. If I look behind that, I hear music as it was made by Sandy Denny and Fairport Convention just to drop the most obvious names and all of the English and Celtic folk traditions that influenced these musicians half a century ago.

In the instruments a blend is served of "modern" instruments like the electric guitar and more classic acoustic instruments. The atmosphere resulting in an album that in more recent times reminds me of Linda Perhacs last album, 'The Soul Of All Natural Things' (already five years old). This blend results in a solid sounding song like 'Child Of The Breeze'. a song where the mystical blends with a solid two feet on the ground drumming and rhythm. The amazing thing is that this different approach does not change the feel of the album. Neither does the Indian influence carrying 'Strange Garden'.

Promo photo: Bryony Whistlecraft
There is only one song that really upsets Kim Thompsett's apple cart. The loud rocking song 'Hollow Hill' is incomprehensible, were it not that I like this song so much. There are other more solid moments on The Hollows, but nothing like this. Where does it come from?

The Hollows is one of those albums that are great to listen to on your own. To turn the volume up and let all the subtlety and the force contained in a few of the songs, wash over me, making me a part of what is on offer. Moments to enjoy the quiet tranquillity and the loud lead guitar of David Kent when it is let out of its cage. The result is that the stately songs, 'Moonchild's Lullaby' or 'Woebetide Hill' come across as good as 'Strange Garden' or 'Hollow Hill'.

On The Hollows Kate Thompsett and her team, including producer Harvey Summers, manage to look beyond what is obvious. By doing so a hybrid record is presented that stands out in a few ways and I'm not even talking about quality, yet. It could take me a few more listening sessions but it may just be that Lou Doillon's 'Soliloquy' finally has some competition in 2019. There is an awful lot to enjoy here and you can undergo this experience by clicking on the links below.


You can buy The Hollows here:

or listen to our Spotify Playlist to find out what we are writing about:

Geen opmerkingen:

Een reactie posten