Trope Enunciation
I’m content to describe this latest from Lucy Roleff as ‘the
quintessence of folk music’ without fear of being challenged for hyperbole, [i]
because I could care less, and [ii] with its acoustic plucked guitar,
occasional flutes, sweet [angelic at times] harmony, and, above all, the
clarity of Roleff’s singing, we have the key tropes of a classic type served
with skill and feel.
In my reviewing of her previous work here, I have intoned
Joni Mitchell – as have others – and that is an undeniable precursor motif: for
example her singing is crystal clear* on fourth track Silver, though this has its distinctiveness, and as for these
distinctions, next Sometimes Do pulls
away from influence to a vocal foregrounded over harp and flute quite exquisite
in its pure resonance. Yes, it is pretty, and there is no baulk at what I could
imagine some headbangers perceiving as twee – indeed, next again Autumn Song, with its jollified
harmonising, plays on the Donovan-esque lineage of a fairy-folk that is spirited
and child-like in its portrayals.
The album’s songs are set in a gentle, peaceful mood and
that is the place for receiving it. The title track and album closer is an
embodiment of this with mostly strummed acoustic guitar and Roleff’s flawless voice
coalescing in their soft singularity until piano and a distant ambient sound
tail it to a tender peak.
You can listen and purchase on Roleff’s Bandcamp site here where this description [*] ‘classical enunciation’ can be found, and it is a
referring I wanted to use earlier about her vocal but was hesitant for it
sounding rather haughty – but it is actually apt in defining the clarity.
Again, I should care less…
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