Laura Cannell and André Bosman
RECKONINGS
Laura Cannell and André Bosman
RECKONINGS
Boomkat Product Review:
Exploratory British violinist Laura Cannell presents captivating duets with André Bosman, who previously produced her ‘Quick Sparrows Over The Black Earth’ album, on a gripping session recorded live inside the 13th century stone walls of Ravingham Church in Norfolk, UK
“In wood and marsh and stone we make our reckoning”
Dispatched on Laura’s Brawl Records, ‘Reckonings’ is another prime example of her singularly experimental take on a cross section of ideas absorbed from early medieval music, traditional folk and renaissance and contemporary styles. Coupled with Bosman, she’s clearly an adept collaborator, as her previous works with Mark Fell, Sandro Mussida, Aby Vuillamy, and Rhodri Davies have proven, but we’d take this album as the strongest example of her strengths in union.
Laura plays violin with overbow and baroque bow, while André handles violin with amplifier and Rebec bow. The results are fiercely dissonant in a classic folk sense, as the two operate closely but with differences emerging in their bowing and the extra layer of disruption added by Bosman’s amplifier, which lends a wickedly coruscating bite to proceedings.
It’s definitely not your usual, pretty, cliched neo-classical work at all. There’s a snarling fire to their sound that seems to fulminate in the air, with each player bearing their fangs in a way that’s not aggressive but does connote a sort of slow, considered violence to our ears that’s much more effective than outright aggression. It feels as though they are absorbing and transmuting hundreds of years of hellish imagery and pain from the church itself into these recordings, giving a voice to lost souls.
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Boomkat Product Review:
Exploratory British violinist Laura Cannell presents captivating duets with André Bosman, who previously produced her ‘Quick Sparrows Over The Black Earth’ album, on a gripping session recorded live inside the 13th century stone walls of Ravingham Church in Norfolk, UK
“In wood and marsh and stone we make our reckoning”
Dispatched on Laura’s Brawl Records, ‘Reckonings’ is another prime example of her singularly experimental take on a cross section of ideas absorbed from early medieval music, traditional folk and renaissance and contemporary styles. Coupled with Bosman, she’s clearly an adept collaborator, as her previous works with Mark Fell, Sandro Mussida, Aby Vuillamy, and Rhodri Davies have proven, but we’d take this album as the strongest example of her strengths in union.
Laura plays violin with overbow and baroque bow, while André handles violin with amplifier and Rebec bow. The results are fiercely dissonant in a classic folk sense, as the two operate closely but with differences emerging in their bowing and the extra layer of disruption added by Bosman’s amplifier, which lends a wickedly coruscating bite to proceedings.
It’s definitely not your usual, pretty, cliched neo-classical work at all. There’s a snarling fire to their sound that seems to fulminate in the air, with each player bearing their fangs in a way that’s not aggressive but does connote a sort of slow, considered violence to our ears that’s much more effective than outright aggression. It feels as though they are absorbing and transmuting hundreds of years of hellish imagery and pain from the church itself into these recordings, giving a voice to lost souls.
Boomkat Product Review:
Exploratory British violinist Laura Cannell presents captivating duets with André Bosman, who previously produced her ‘Quick Sparrows Over The Black Earth’ album, on a gripping session recorded live inside the 13th century stone walls of Ravingham Church in Norfolk, UK
“In wood and marsh and stone we make our reckoning”
Dispatched on Laura’s Brawl Records, ‘Reckonings’ is another prime example of her singularly experimental take on a cross section of ideas absorbed from early medieval music, traditional folk and renaissance and contemporary styles. Coupled with Bosman, she’s clearly an adept collaborator, as her previous works with Mark Fell, Sandro Mussida, Aby Vuillamy, and Rhodri Davies have proven, but we’d take this album as the strongest example of her strengths in union.
Laura plays violin with overbow and baroque bow, while André handles violin with amplifier and Rebec bow. The results are fiercely dissonant in a classic folk sense, as the two operate closely but with differences emerging in their bowing and the extra layer of disruption added by Bosman’s amplifier, which lends a wickedly coruscating bite to proceedings.
It’s definitely not your usual, pretty, cliched neo-classical work at all. There’s a snarling fire to their sound that seems to fulminate in the air, with each player bearing their fangs in a way that’s not aggressive but does connote a sort of slow, considered violence to our ears that’s much more effective than outright aggression. It feels as though they are absorbing and transmuting hundreds of years of hellish imagery and pain from the church itself into these recordings, giving a voice to lost souls.
Boomkat Product Review:
Exploratory British violinist Laura Cannell presents captivating duets with André Bosman, who previously produced her ‘Quick Sparrows Over The Black Earth’ album, on a gripping session recorded live inside the 13th century stone walls of Ravingham Church in Norfolk, UK
“In wood and marsh and stone we make our reckoning”
Dispatched on Laura’s Brawl Records, ‘Reckonings’ is another prime example of her singularly experimental take on a cross section of ideas absorbed from early medieval music, traditional folk and renaissance and contemporary styles. Coupled with Bosman, she’s clearly an adept collaborator, as her previous works with Mark Fell, Sandro Mussida, Aby Vuillamy, and Rhodri Davies have proven, but we’d take this album as the strongest example of her strengths in union.
Laura plays violin with overbow and baroque bow, while André handles violin with amplifier and Rebec bow. The results are fiercely dissonant in a classic folk sense, as the two operate closely but with differences emerging in their bowing and the extra layer of disruption added by Bosman’s amplifier, which lends a wickedly coruscating bite to proceedings.
It’s definitely not your usual, pretty, cliched neo-classical work at all. There’s a snarling fire to their sound that seems to fulminate in the air, with each player bearing their fangs in a way that’s not aggressive but does connote a sort of slow, considered violence to our ears that’s much more effective than outright aggression. It feels as though they are absorbing and transmuting hundreds of years of hellish imagery and pain from the church itself into these recordings, giving a voice to lost souls.
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Boomkat Product Review:
Exploratory British violinist Laura Cannell presents captivating duets with André Bosman, who previously produced her ‘Quick Sparrows Over The Black Earth’ album, on a gripping session recorded live inside the 13th century stone walls of Ravingham Church in Norfolk, UK
“In wood and marsh and stone we make our reckoning”
Dispatched on Laura’s Brawl Records, ‘Reckonings’ is another prime example of her singularly experimental take on a cross section of ideas absorbed from early medieval music, traditional folk and renaissance and contemporary styles. Coupled with Bosman, she’s clearly an adept collaborator, as her previous works with Mark Fell, Sandro Mussida, Aby Vuillamy, and Rhodri Davies have proven, but we’d take this album as the strongest example of her strengths in union.
Laura plays violin with overbow and baroque bow, while André handles violin with amplifier and Rebec bow. The results are fiercely dissonant in a classic folk sense, as the two operate closely but with differences emerging in their bowing and the extra layer of disruption added by Bosman’s amplifier, which lends a wickedly coruscating bite to proceedings.
It’s definitely not your usual, pretty, cliched neo-classical work at all. There’s a snarling fire to their sound that seems to fulminate in the air, with each player bearing their fangs in a way that’s not aggressive but does connote a sort of slow, considered violence to our ears that’s much more effective than outright aggression. It feels as though they are absorbing and transmuting hundreds of years of hellish imagery and pain from the church itself into these recordings, giving a voice to lost souls.
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