back in stock as of
february 18th, 2014
first in stock on
february 24th, 2009
|bo’weavil (uk) #weavil 34 cd|
black flowers “i grew from a stone to a statue” compact disc
- calvary cross
- hot crosses
- polly on the shore
- and the words fell like malting blossom
- sweet rivers of redeeming love
|february 2009 release ; first outing from this alex neilson-led quartet with lavinia blackwell, michael “mick” flower, and alasdair roberts ...|
not sure if it’s roberts’ presence that leads things into more “song-based” territories than even directing hand, but the vocals are largely the focus, even when the group step out into less rhythmic arenas (listen to the sound-sample for a lovely section involving the group’s collective choiring & mick’s gained “japan-banjo” ...)
|bo’weavil press release...|
|i grew from a statue to a stone |
alex neilson's peripatetic travels through the musical landscapes of this isle and beyond seem to have reached some kind of milestone with "i grew from a stone to a statue". a summation to date of his musical praxis and a vertiginous launch pad into a number of possible futures. joining him are a number of fellow travelers who share his love of song and a restless frustration with the limits imposed by that or any other form. it's difficult to avoid hackneyed q magazine vernacular such as "supergroup" when writing about a coming together such as this but given the way talent attracts talent that was always going to be the case.
lavinia blackwall, whose fearless improvised vocals have electrified other of alex's projects, trembling bells and directing hand, also plays harp, psaltery and organ. michael flower plays guitar, never sounding more like the leeds takashi mizutani than he does here. possibly straying furthest from familiar territory is glaswegian singer/songwriter alasdair roberts, who also plays guitar and shares vocals with lavinia on the traditional "polly on the shore".
the music they create frequently wrong foots the listener with folk and rock references before tearing down with iconoclastic fervour all the associations of those song-based, narrative-driven, vocal-centred forms. what is left when that scaffolding is removed is music that is infinitely expansive and joyous in its freedom. the songs do have a narrative but one that moves upwards and backwards as well as forwards, with a use of three-dimensional sonic space that doesn't figure in the rulebooks of those megalithic modes. not only space but time becomes a fluid and malleable concept, as it always has been in the hands of those drummers good enough and free enough in style and mind to break through it.