Lament
Various artists
Real World, distributed by Larrikin
Where Angels Fly
Jan CarterLarrikin
Reviewed by Bernie Brian
Lament was recorded with the express intention of connecting with the people of Derry, and through its music mourning for those who have lost their lives in the world's longest war.
Irish music can be exceedingly joyful, but in a land that has suffered so much at the hands of famine, invasion and occupation, much of its music also reflects a profound sadness. Listening to Lament, you can learn much about this culture, although I am not sure you are any wiser about the troubles of the North. The inane statements in the cover notes about the "men of violence" certainly don't help.
The musical lamentation is a long tradition. It ranges from the slow and sad air to the a cappella style of sean-nos, and to the songs for the dead, called keens.
Most of Lament is instrumental, each lament being expressed by a different unaccompanied instrument. This lets us hear the component parts of Irish traditional music, as well as hearing them played by some of the best Irish musicians available: Derek Bell from the Chieftains playing harp, Davy Spillane on low whistle, Christy Moore on bodhran and John Sheahan from the Dubliners on fiddle, to name a few. Other instruments featured are the uillean pipes, piano and accordion.
There are a number of haunting vocal pieces. The Chieftains' Kevin Conneff provides an example of sean-nos, and Christy Moore is in full poetic flight. However, for those of us who can't speak Irish, translations would have been appreciated. It is a very gentle recording, made more profound by its honest, natural sound.
Jan Carter is an Australian with a background in classical guitar, who has become an accomplished player of the Celtic harp. As the sleeve notes to Where Angels Fly will tell you, this is an instrument that has remained unchanged for over 800 years.
This recording is also very gentle, honest and unadorned. Quite a few of the songs are traditional Irish, but there are also influences from 14th century Italy, Brittany and even Australia. Those familiar with the recordings of Breton Celtic revivalist Alan Stivell will recognise one of his signature tunes. If you like the sound of the Irish harp, you will appreciate this album.