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Nestled in the vibrant West Yorkshire town of Todmorden, acclaimed for both its eclectic music scene and unpredictable weather, Bridget Hayden and the Apparitions embark on the new year with a collection of traditional songs that evoke the heavy atmosphere of the moors at midnight. Drawn from memories of her mother’s soothing lullabies, their sound unfolds slowly, anchored by analog synthesizers and the gentle strumming of banjos, which complement Hayden’s deep and contemplative vocals. The overall vibe is introspective, marked by a slow and almost somber pace.
Experiencing the stillness of their music can elicit profound emotions. In a rendition of the classic Blackwater Side, familiar to fans through interpretations by artists like Anne Briggs and Sandy Denny, Hayden captures the subtle, tender moments of intimacy during what she describes as “the best part of the night.” Here, she intertwines lyrics that reflect shared joys with an “Irish lad” in an evocative exploration of fleeting pleasures. The imagery found in the industrial-era song Factory Girl also resonates with rich emotion, as her interpretation brings to life the vibrant description of a woman’s cheeks resembling the spring’s blooming roses.
Previously, Hayden offered a striking version of this song on her 2019 album, Soil and Song. Her earlier artistic endeavors, including collaborations with the experimental Vibracathedral Orchestra and projects with the innovative Folklore Tapes label, are characterized by a more raw and dissonant sound. The atmosphere on Cold Blows the Rain, in contrast, can feel somewhat uniform, making the moments when it deviates from its established sound particularly exhilarating.
In her performance of the Appalachian-inspired Red Rocking Chair, Hayden’s haunting vocals stand out as a captivating counterbalance to the song’s traditional blues roots. On When I Was in My Prime, her decision to step back from the microphone allows the spacious acoustics of the Todfellows hall—where this album was recorded—to envelop the listener in a chilling ambience. The addition of Sam McLoughlin’s mournful harmonium and Dan Bridgewood-Hill’s haunting violin further enriches the album’s spectral ambiance, marking it as one of the coldest yet most compelling auditory experiences.
Cold Blows the Rain is set to be released on 10 January.
Also out this month
Mary Chapin Carpenter, Julie Fowlis, and Karine Polwart team up for Looking for the Thread (Thirty Tigers), an invigorating showcase of uplifting country music alongside poignant Irish melodies, including the beautiful Gràdh Geal Mo Chridhe (My Heart’s Bright Love). This collaboration also features striking original compositions, such as the heartfelt You Know Where You Are by Polwart and Pippa Murphy. Additionally, Parchman Prison Prayer returns with Another Mississippi Sunday Morning (Glitterbeat), which captures the folk and blues performed during the gospel services at Parchman Prison, produced by Ian Brennan. Among the standout tracks are the gripping a cappella performances of Po’ Child and Open the Floodgates of Heaven (Let It Rain), recorded amid the backdrop of a powerful storm. Meanwhile, Blue Lake’s Weft (Tonal Union), the creative outlet of artist Jason Dungan, offers a soothing instrumental experience consisting of four pieces that blend nylon-string guitar, piano, flute, and clarinet, culminating in a captivating three-minute finale featuring his 36-string zither.
Source
www.theguardian.com