THE QUEEN OF THE LOWLANDS is an accomplished body of working allowing the many sides of Odette Michell's artistry to prosper. Whether you sit back and savour the regality of serene vocals nestling among the finesse of fine musicianship or dive deep into the song content, the album meets the ideals of folk music head on. Archivists in the future won't need to dig so deep to discover the music of today but could be forgiven in confusing the original content here with timeless cuts from the traditional pool. Michell observes tradition is how the songs are constructed, yet all are current compositions blending old stories with contemporary feelings. The result is a robustly compact record awash with layers of enjoyable aspects.
Four of the ten tracks draw you in straight away from the pure impact of the tune. 'Hourglass' is one that transcends a tight genre convention and could flourish in any setting. The theme of cherishing every moment never loses its powerful potency and when so elegantly presented increases its worth. Michell's vocals are right on the mark and like on other parts of the album strategically ease off to allow a guest to breeze in. Calum Gilligan features here. This tracks slips into the title piece 'The Queen of the Lowlands' boldly presented with a rousing chorus, whilst telling the story of a WW1 Dutch ship famous for transporting and repatriating thousands of US troops to and from Europe. Dazzling fiddle from Chris Leslie adds some vibrancy especially at the end. Violin opens the third of the popular quartet in 'All the Bonny Ships' as a nautical theme (at least in the title) continues in a family oriented post-war reunion. This track closes the record but a lot earlier the magnetic charm of 'St Helen's' holds fort telling a tale of emigration from Ireland to the cotton towns of industrial Lancashire. Can't say you hear too many songs about the modern incarnation of the place, yet we all sway in time to this excellent tale mixing the tough with the touching.
Contributions from luminaries of the folk world lavishly adorn the album starting with the production duties of Stu Hannah from Megson. Expect Ninebarrow, Lukas Drinkwater and Phil Beer among others to pop up. However none smoother than the talents of Odette Michell holding court on her moment in the spotlight.
The readily accessible lyrics are a useful aid alongside some explanation of the song content. This will help with 'Lady Constance', an Irish philanthropist, and bringing things right up to date in 'Waterline' where EU handouts led to the abandonment of many Fleetwood fishing vessels. You are never short on learning something when listening to albums like this.
Nature plays its part in two songs before one veers off into fictional folk myth. 'The Woodlark and the Fieldfare' soothes the mind with the help of passionate naturalists Ninebarow. 'Flowers' sees the sole co-write with longtime friend Daria Kulesh as the pair inspired from a walk in the woods spin a tale of lauded myth with the usual folk ending via a pistol.
Completing this ten-strong collection are two less obvious songs with 'Requiem' paying tribute to Scottish storyteller Robert Louis Stevenson joined by Vicki Swan on Scottish small pipes, while 'My Love is Like the Rondelet' addresses separated love. The latter reinforces the sparkling vocal eminence of an artist rivalling the best in the business.
QUEEN OF THE LOWLANDS packs a lot into its forty minutes and parts will take a few listens to sink in. The bonus is the quartet that lure you from the off. Odette Michell has made an album rich in astute quality and primed for praise from influential sources. For anyone with even a casual interest in folk music, it is a worthwhile addition to any collection.
