The duo of Clair le Couteur and Carli Jefferson brings a much-needed sense of drama and intrigue to the world of folk and their love of the history of song and its function as a staple for our way of life is perfectly presented in Lunatraktors‘ second full-length album, The Missing Star.
I think it is the work undertaken to source and translate some of the pieces here and to keep their traditions alive which does the duo such service. But it isn’t just about revelling in the past, and their willingness to inject new meaning and find modern parallels is a worthwhile task, one for which we as the listening public and part of the general population should be thankful.
The variety of emotions and the intricacies of the song structures presented on The Missing Star draws the listener here, presenting them with historical tales of hardship and heartbreak, but also tales of contemporary outrage and desperate swipes at modern government. There is something for everybody here, folk fan or not, who delights in a tale well told and an injustice brought to light. The oozing squeezebox and vocal duet that opens the album, “Rigs Of The Times”, is a strident and cynical look at modern days. This is what folk music is all about, highlighting adversity and rounding on it, but with a charm that carries a difficult message. Their voices meld well together; Carli lending a sense of support to Clair’s more forceful outbursts and the doomy acapella of “My Witch” finds them weaving in and out of each other’s space.The duo cover Leonard Cohen to vital effect with the help of string arranger Geoffrey Richardson, and at the other end of the spectrum adapt a thirteenth century scrap of song, stripping the bones away and somehow making it timeless. Their use of various Brexit slogans for “The Missing Star” is classic and, arranged for melodica and voice, there is something portentous about it, but also there is a hint of music hall tradition in it. You could imagine it being performed in a revue to wild applause as they lambast the government.
They do a similar thing on their version of “Unquiet Grave” but bring it up to tragic date. The whistles evoke the British countryside, and the inventive drumming and cymbal work gives it a modern twist, its scuffling rhythm and busy voice pushing the meaning home. Elsewhere, “Drone Code” is just that, the sound of a ghost ship drifting into view, while “The Exciseman” comes on like a radio comedy, Clair’s character voices bringing the amusing little tale to life over a light percussive backing. The whole thing is such a treat musically and sonically, but also the depth of understanding they have for the love and form of song is palpable. Anyone who can translate the Bible and Torah from Hebrew to produce their own take on “Ecclesiastes” only deserves our support, but to then set it to a moving and resonant piano backing and come on like a dignified Nick Cave is pretty damned good.This album is a real treat for everybody and hopefully as restrictions lift, they will be able to take it on the road and show the country just how protest music should sound and feel.
-Mr Olivetti-
