Laura Cannell and Lori Goldston
The Deer Are Small And The Rabbits Are Big
Laura Cannell and Lori Goldston
The Deer Are Small And The Rabbits Are Big
Boomkat Product Review:
An absolute triumph of avant-classical x folk fusion from occasional Nirvana cellist Lori Goldston and Norfolk’s chamber music maverick Laura Cannell - peerless, spellbinding music recorded swiftly and from the heart over a few days on location in medieval churches.
‘The Deer Are Small And The Rabbits Are Big’ is the sort of soul-grabbing, transcendent masterstroke that only comes around once in a blue moon. Recorded in the summer of 2022, it finds Goldstone taking time out from a UK & Eire tour (as documented on ‘Convolutions’ for Nyahh) for a long delayed visit to Laura Cannell’s native Norfolk, an expansive flatland region patchworked with fields, waterways and medieval churches, which have deeply inspired Cannell’s unique music. Improvising in a vaulted C.14th undercroft at St. Olave’s Priory in Great Yarmouth, and the aisles of St. Andrews’ church in Ravenigham, their creative symbiosis is goose-pimplingly palpable, wedding Goldstone’s cello with Cannell’s fiddle and voice in a practically preternatural mode inflected with a counter-factual approach to their idioms. In their hands, classical and folk musics feel utterly in-the-moment - not stuffy or hoary - with life-affirming, results.
Like Cannell, Goldston also favours recording in unorthodox and outdoor spaces, utilising their acoustics and accreted histories as part of the music, and it’s hard to overstate how comfortable they seem when working together in the nether regions of Norfolk. If you squint, the eight pieces almost feel to operate on an archaeoacoustic level, reflecting and articulating the voices and spirits of people who used them over the centuries, as much as their own. From the first strokes of ‘Vaulted Echoes’ they have us by a thread with a luminous quiet/loud passage, contrasting with the shadowplay of ’Sheltered in the Undercroft’, and stark standout of plucked cello below the omnipresence of Cannell’s voice, diffused in naturally reverberant space on ‘Devil White Flower and ‘Lying Beneath the Earth’. They tilt toward a folksier cadence subtly inflected with Cajun and classical freedoms on ‘The Underground Passage to the Castle’, and braid their styles with an instrumental, tongue-tip frisson on ‘Below The Lowlands’ that frankly will leave you bawling.
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Boomkat Product Review:
An absolute triumph of avant-classical x folk fusion from occasional Nirvana cellist Lori Goldston and Norfolk’s chamber music maverick Laura Cannell - peerless, spellbinding music recorded swiftly and from the heart over a few days on location in medieval churches.
‘The Deer Are Small And The Rabbits Are Big’ is the sort of soul-grabbing, transcendent masterstroke that only comes around once in a blue moon. Recorded in the summer of 2022, it finds Goldstone taking time out from a UK & Eire tour (as documented on ‘Convolutions’ for Nyahh) for a long delayed visit to Laura Cannell’s native Norfolk, an expansive flatland region patchworked with fields, waterways and medieval churches, which have deeply inspired Cannell’s unique music. Improvising in a vaulted C.14th undercroft at St. Olave’s Priory in Great Yarmouth, and the aisles of St. Andrews’ church in Ravenigham, their creative symbiosis is goose-pimplingly palpable, wedding Goldstone’s cello with Cannell’s fiddle and voice in a practically preternatural mode inflected with a counter-factual approach to their idioms. In their hands, classical and folk musics feel utterly in-the-moment - not stuffy or hoary - with life-affirming, results.
Like Cannell, Goldston also favours recording in unorthodox and outdoor spaces, utilising their acoustics and accreted histories as part of the music, and it’s hard to overstate how comfortable they seem when working together in the nether regions of Norfolk. If you squint, the eight pieces almost feel to operate on an archaeoacoustic level, reflecting and articulating the voices and spirits of people who used them over the centuries, as much as their own. From the first strokes of ‘Vaulted Echoes’ they have us by a thread with a luminous quiet/loud passage, contrasting with the shadowplay of ’Sheltered in the Undercroft’, and stark standout of plucked cello below the omnipresence of Cannell’s voice, diffused in naturally reverberant space on ‘Devil White Flower and ‘Lying Beneath the Earth’. They tilt toward a folksier cadence subtly inflected with Cajun and classical freedoms on ‘The Underground Passage to the Castle’, and braid their styles with an instrumental, tongue-tip frisson on ‘Below The Lowlands’ that frankly will leave you bawling.
Boomkat Product Review:
An absolute triumph of avant-classical x folk fusion from occasional Nirvana cellist Lori Goldston and Norfolk’s chamber music maverick Laura Cannell - peerless, spellbinding music recorded swiftly and from the heart over a few days on location in medieval churches.
‘The Deer Are Small And The Rabbits Are Big’ is the sort of soul-grabbing, transcendent masterstroke that only comes around once in a blue moon. Recorded in the summer of 2022, it finds Goldstone taking time out from a UK & Eire tour (as documented on ‘Convolutions’ for Nyahh) for a long delayed visit to Laura Cannell’s native Norfolk, an expansive flatland region patchworked with fields, waterways and medieval churches, which have deeply inspired Cannell’s unique music. Improvising in a vaulted C.14th undercroft at St. Olave’s Priory in Great Yarmouth, and the aisles of St. Andrews’ church in Ravenigham, their creative symbiosis is goose-pimplingly palpable, wedding Goldstone’s cello with Cannell’s fiddle and voice in a practically preternatural mode inflected with a counter-factual approach to their idioms. In their hands, classical and folk musics feel utterly in-the-moment - not stuffy or hoary - with life-affirming, results.
Like Cannell, Goldston also favours recording in unorthodox and outdoor spaces, utilising their acoustics and accreted histories as part of the music, and it’s hard to overstate how comfortable they seem when working together in the nether regions of Norfolk. If you squint, the eight pieces almost feel to operate on an archaeoacoustic level, reflecting and articulating the voices and spirits of people who used them over the centuries, as much as their own. From the first strokes of ‘Vaulted Echoes’ they have us by a thread with a luminous quiet/loud passage, contrasting with the shadowplay of ’Sheltered in the Undercroft’, and stark standout of plucked cello below the omnipresence of Cannell’s voice, diffused in naturally reverberant space on ‘Devil White Flower and ‘Lying Beneath the Earth’. They tilt toward a folksier cadence subtly inflected with Cajun and classical freedoms on ‘The Underground Passage to the Castle’, and braid their styles with an instrumental, tongue-tip frisson on ‘Below The Lowlands’ that frankly will leave you bawling.
Boomkat Product Review:
An absolute triumph of avant-classical x folk fusion from occasional Nirvana cellist Lori Goldston and Norfolk’s chamber music maverick Laura Cannell - peerless, spellbinding music recorded swiftly and from the heart over a few days on location in medieval churches.
‘The Deer Are Small And The Rabbits Are Big’ is the sort of soul-grabbing, transcendent masterstroke that only comes around once in a blue moon. Recorded in the summer of 2022, it finds Goldstone taking time out from a UK & Eire tour (as documented on ‘Convolutions’ for Nyahh) for a long delayed visit to Laura Cannell’s native Norfolk, an expansive flatland region patchworked with fields, waterways and medieval churches, which have deeply inspired Cannell’s unique music. Improvising in a vaulted C.14th undercroft at St. Olave’s Priory in Great Yarmouth, and the aisles of St. Andrews’ church in Ravenigham, their creative symbiosis is goose-pimplingly palpable, wedding Goldstone’s cello with Cannell’s fiddle and voice in a practically preternatural mode inflected with a counter-factual approach to their idioms. In their hands, classical and folk musics feel utterly in-the-moment - not stuffy or hoary - with life-affirming, results.
Like Cannell, Goldston also favours recording in unorthodox and outdoor spaces, utilising their acoustics and accreted histories as part of the music, and it’s hard to overstate how comfortable they seem when working together in the nether regions of Norfolk. If you squint, the eight pieces almost feel to operate on an archaeoacoustic level, reflecting and articulating the voices and spirits of people who used them over the centuries, as much as their own. From the first strokes of ‘Vaulted Echoes’ they have us by a thread with a luminous quiet/loud passage, contrasting with the shadowplay of ’Sheltered in the Undercroft’, and stark standout of plucked cello below the omnipresence of Cannell’s voice, diffused in naturally reverberant space on ‘Devil White Flower and ‘Lying Beneath the Earth’. They tilt toward a folksier cadence subtly inflected with Cajun and classical freedoms on ‘The Underground Passage to the Castle’, and braid their styles with an instrumental, tongue-tip frisson on ‘Below The Lowlands’ that frankly will leave you bawling.
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Boomkat Product Review:
An absolute triumph of avant-classical x folk fusion from occasional Nirvana cellist Lori Goldston and Norfolk’s chamber music maverick Laura Cannell - peerless, spellbinding music recorded swiftly and from the heart over a few days on location in medieval churches.
‘The Deer Are Small And The Rabbits Are Big’ is the sort of soul-grabbing, transcendent masterstroke that only comes around once in a blue moon. Recorded in the summer of 2022, it finds Goldstone taking time out from a UK & Eire tour (as documented on ‘Convolutions’ for Nyahh) for a long delayed visit to Laura Cannell’s native Norfolk, an expansive flatland region patchworked with fields, waterways and medieval churches, which have deeply inspired Cannell’s unique music. Improvising in a vaulted C.14th undercroft at St. Olave’s Priory in Great Yarmouth, and the aisles of St. Andrews’ church in Ravenigham, their creative symbiosis is goose-pimplingly palpable, wedding Goldstone’s cello with Cannell’s fiddle and voice in a practically preternatural mode inflected with a counter-factual approach to their idioms. In their hands, classical and folk musics feel utterly in-the-moment - not stuffy or hoary - with life-affirming, results.
Like Cannell, Goldston also favours recording in unorthodox and outdoor spaces, utilising their acoustics and accreted histories as part of the music, and it’s hard to overstate how comfortable they seem when working together in the nether regions of Norfolk. If you squint, the eight pieces almost feel to operate on an archaeoacoustic level, reflecting and articulating the voices and spirits of people who used them over the centuries, as much as their own. From the first strokes of ‘Vaulted Echoes’ they have us by a thread with a luminous quiet/loud passage, contrasting with the shadowplay of ’Sheltered in the Undercroft’, and stark standout of plucked cello below the omnipresence of Cannell’s voice, diffused in naturally reverberant space on ‘Devil White Flower and ‘Lying Beneath the Earth’. They tilt toward a folksier cadence subtly inflected with Cajun and classical freedoms on ‘The Underground Passage to the Castle’, and braid their styles with an instrumental, tongue-tip frisson on ‘Below The Lowlands’ that frankly will leave you bawling.
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