Boomkat Product Review:
The fleet fingers of harpist Rhodri Davies pick out connections between Gaelic, West African and Far Eastern traditions - to our untrained ears at least - on the 3rd album via his Amgen label
Making up 1 part of 4 to his ‘Pedlar’ boxset, ‘An Air Swept Clean of All Distance’ was recorded in 2014 at Blank Studios, Newcastle, and exec produced by folk chief Richard Dawson, and adorned by a continuing series of artwork by Anna Peaker. It skips back along the timeline to what sounds like happy times, where Davies’ playing fizzes with typically inventive, optimistic, and timeless beauty, which, if you shut your eyes and try a little, could almost hail from any point in the past half millennia - although we do wonder if they really shredded like this back in thee day.
He’s really going for it on this one, so understandably the tracks are mostly succinct, as who the chuff could keep up this sort of energy for any longer?! They come on In flurried waves with ‘soaked ruins of a raft’ and culminate in him expending his energies on the longest, final piece with the hyper jabs of ‘on the outer reach of the unending’, with numbers such as ‘In Distortion-Free Mirrors’ attacking like Rian Treanor doing Korean classical music at hi-speed, and the breathless, mellifluous flex of ‘continues, placement’ recalling Kadodi styles we’ve heard on Nyege Nyege Tapes. But of course he makes room for slower, serene moments, diffracting the pace thru more spacious and lilting parts like ‘Each clear and sudden drop itself’ and the anticipatory pauses of ‘fingers pluck played on by’ that temper the album’s gushing sequence.