Artist: Jemima Thewes
Title: Calling
Label: Last Night From Glasgow
Genre: Scottish avant-folk
Vinyl and Digital Release: July 2022
Review by Fiona Mactaggart
Photo by Vicki Rose Evans
With her partner, producer and multi-instrumentalist (Hidden Orchestra) Tim Lane, in 2015 Scottish avant-folk singer songwriter Jemima Thewes self-released a debut EP Bright Shadows, which at the time garnered considerable praise especially in UK folk circles.
This July Thewes is releasing her debut album and once again she is being thoughtful in her choice of name for the album – Calling – for the songs therein successfully evoke a wistfulness for the Scottish Highlands where Thewes grew up, with its captivating, often spectacular landscapes and weather.
However, Calling possesses a gravitas and a dark kind of beauty in keeping with its origins in a period when Thewes was recovering from very serious illness. It was during these convalescent years, Thewes states, that she at last found her voice and began crafting Calling, once again Lane joining her to record and produce it, the duo augmented by six musician friends (who are all listed at the end of this review).
Thirteen tunes in all, Thewes’ earnest alto voice is on all except the delicately pretty instrumental ‘Avril 14th’, an Aphex Twin cover. ‘Death and The Lady’ is the only traditional song covered, while the rest are self-penned. The lyrics are in general a little bleak (and isn’t that often the case in folk music?) with themes of mortality, transformation and ultimately celebration of life. A mostly unhurried tempo feels almost stately at times, while the filigree instrumentation never overwhelms the words.
Diverse influences are evident, ranging from English and Scottish folk traditions to reggae and early blues, with the singular sound of Lane’s tongue drum adding otherworldly interest. This listener felt the slow and sombre tracks were especially successful.
‘Water’’s invigorating crescendo of gushing water evokes a Highland river in spate, Thewes’ pensive vocals pushing through while accompanying instruments add diaphanous yet perfectly balanced support. ‘Elie Sands’ has some attractive tongue drumming, whilst the elegant guitar in the title track contributes to its calming and dreamlike quality. Written in memory of a close friend, ‘Fragile Flower’ likewise features some charming guitar, uke and cello, while the ultimately reggae ‘Small And Wild’ is a true mood lifter.
Final song, ‘Hidden Track’ is different. At over 9 minutes the longest, perhaps it could be regarded as a musical expression of Thewes’ illness experience. It’s an out-there, partly improvisational, chaotic mixture of snatches of disparate recordings and reprises, with a skirling of the tape machine clearly audible. This track is a quirky concatenation that, like the whole album, is a mixture of fun but mostly solemnity, and which stabilises at last with Thewes repeatedly reassuring herself: “I’m really OK”.
The album too is OK, indeed better than OK. The quietly outré and ethereal qualities lightened by sparks of humour don’t mask a sincerity and depth of emotion. Calling is a promising debut so it will be interesting to see what Thewes and her talented musical friends embark on next. Meanwhile a Scottish tour of Calling is planned for later this year.
A final tip of the hat must go to Susan and Sam Heaton who took the stunning under-water photo that graces the album cover.
Jemima Thewes – lead vocal, ukulele, tenor guitar, bass, jaws harp and shruti box; Tim Lane – tongue drum, drum kit and backing vocals; Kate Young and Morag Brown – fiddle; Misha Somerville – low whistle; Jem Le Lievre – bass guitar; David Boyter – guitar and mandolin; Susan Appelbe – cello.
Fiona Mactaggart lives in Edinburgh and writes about music on Scottishjazzspace.co.uk
