The sixth release in Cannell's ongoing 'Year of Lore' series, 'WOLFLORE' is inspired by the behavior of wolves and their vocalisations, a set of four vociferous fiddle compositions that neatly harmonize with British mythology.
Considering her subject matter for 'WOLFLORE', Cannell wanted to try something different with her instrumentation, so modified her violin with thick Octave strings (stepped an octave below the conventional violin tuning) to capture the wolf's distinctive howl. The instrument's rasp makes 'WOLFLORE' captivating from the very beginning - there's only violin here, and Cannell takes the opportunity to make the instrument as present and distinct as a moonlit call. On 'The Wolf Within', short, rhythmic bowed phrases signal the early music that Cannell has long used to guide her compositions, but they're soon swallowed by romantic sweeps and reverberating sustained notes before emerging once more as a dramatic, cinematic folk dance.
There's a more baroque quality to 'The Phases of the Wolf', where Cannell offsets upper-register melodies against each other, cycling them until they form a dense, polyrhythmic mass of notes. And she adopts a more somber tone on the shadowy 'Waiting with Wild Beasts', cornering the magic of the natural world with hoarse, pitchy drones that sweep through the darkness like a scythe blade.
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The sixth release in Cannell's ongoing 'Year of Lore' series, 'WOLFLORE' is inspired by the behavior of wolves and their vocalisations, a set of four vociferous fiddle compositions that neatly harmonize with British mythology.
Considering her subject matter for 'WOLFLORE', Cannell wanted to try something different with her instrumentation, so modified her violin with thick Octave strings (stepped an octave below the conventional violin tuning) to capture the wolf's distinctive howl. The instrument's rasp makes 'WOLFLORE' captivating from the very beginning - there's only violin here, and Cannell takes the opportunity to make the instrument as present and distinct as a moonlit call. On 'The Wolf Within', short, rhythmic bowed phrases signal the early music that Cannell has long used to guide her compositions, but they're soon swallowed by romantic sweeps and reverberating sustained notes before emerging once more as a dramatic, cinematic folk dance.
There's a more baroque quality to 'The Phases of the Wolf', where Cannell offsets upper-register melodies against each other, cycling them until they form a dense, polyrhythmic mass of notes. And she adopts a more somber tone on the shadowy 'Waiting with Wild Beasts', cornering the magic of the natural world with hoarse, pitchy drones that sweep through the darkness like a scythe blade.
The sixth release in Cannell's ongoing 'Year of Lore' series, 'WOLFLORE' is inspired by the behavior of wolves and their vocalisations, a set of four vociferous fiddle compositions that neatly harmonize with British mythology.
Considering her subject matter for 'WOLFLORE', Cannell wanted to try something different with her instrumentation, so modified her violin with thick Octave strings (stepped an octave below the conventional violin tuning) to capture the wolf's distinctive howl. The instrument's rasp makes 'WOLFLORE' captivating from the very beginning - there's only violin here, and Cannell takes the opportunity to make the instrument as present and distinct as a moonlit call. On 'The Wolf Within', short, rhythmic bowed phrases signal the early music that Cannell has long used to guide her compositions, but they're soon swallowed by romantic sweeps and reverberating sustained notes before emerging once more as a dramatic, cinematic folk dance.
There's a more baroque quality to 'The Phases of the Wolf', where Cannell offsets upper-register melodies against each other, cycling them until they form a dense, polyrhythmic mass of notes. And she adopts a more somber tone on the shadowy 'Waiting with Wild Beasts', cornering the magic of the natural world with hoarse, pitchy drones that sweep through the darkness like a scythe blade.
The sixth release in Cannell's ongoing 'Year of Lore' series, 'WOLFLORE' is inspired by the behavior of wolves and their vocalisations, a set of four vociferous fiddle compositions that neatly harmonize with British mythology.
Considering her subject matter for 'WOLFLORE', Cannell wanted to try something different with her instrumentation, so modified her violin with thick Octave strings (stepped an octave below the conventional violin tuning) to capture the wolf's distinctive howl. The instrument's rasp makes 'WOLFLORE' captivating from the very beginning - there's only violin here, and Cannell takes the opportunity to make the instrument as present and distinct as a moonlit call. On 'The Wolf Within', short, rhythmic bowed phrases signal the early music that Cannell has long used to guide her compositions, but they're soon swallowed by romantic sweeps and reverberating sustained notes before emerging once more as a dramatic, cinematic folk dance.
There's a more baroque quality to 'The Phases of the Wolf', where Cannell offsets upper-register melodies against each other, cycling them until they form a dense, polyrhythmic mass of notes. And she adopts a more somber tone on the shadowy 'Waiting with Wild Beasts', cornering the magic of the natural world with hoarse, pitchy drones that sweep through the darkness like a scythe blade.