Something borrowed

Welcome, stranger, to this place

In Merioneth, the wind lives and wails,
On from hill to lonely hill:
Down the loud, triumphant gales,
A spirit cries Be strong! and cries Be still!
– Lionel Pigot Johnson, ‘Dead’

Call it rather lent on permanent loan.  For Welcome, stranger, to this place the Wraiths have delivered – on top of This is Charing Cross – another albumsworth of predominantly nineteenth century poetry just about perfectly set to music of their own making.  Mog and Jon really do pull out all the stops to perform these poems, not simply via vocal delivery but through spot-on accompaniment and an all-round thoroughness of approach.  Sometimes managing to combine earthiness with a grim jauntiness – Beddoes’ ‘The drowned and the shipwrecked’ and Tennyson’s ‘Dark house’ – at other times making an unlikely pairing of ululation and the ethereal – ‘Merioneth’, ‘Above the dock’, Dickinson’s ‘Wild nights’ – the end results always engage with both poem and listener.

There’s nothing radically different about this second set, but nor did there need to be.  Keats’ ‘Casket of my soul’ is uniquely Gravenhurst-esque musically (you can imagine Nick Talbot getting his own morbid teeth stuck into this one), but otherwise they continue to elaborate musical settings which though grounded in guitar pop have something more – something other – about them.  A firmness of purpose, a dramatic and melodic kick, and an intuitive feel for the poems, nowhere better demonstrated than on another Tennyson, ‘Touch of a vanished hand’, which retains Mog’s first-time-of-asking improvisation over Jon’s foot-stomping music.  In so doing they reanimate Victorian poetic sensibilities – in these stanzas there’s a lot of death and loss, a lot of wind and water, but life too, in its extremities – and make you want to jump into the poetry both with and without their guiding musical hand.

Presumably the Wraiths are still majoring on nineteenth century poetry for rights reasons, but I start to wonder what they might do with late twentieth and twenty-first century poetry – perhaps even working with a living poet – and where that might take the music.  And I wonder whether they do requests.  There’s Rilke or Anna Akhmatova – admittedly with the additional complication of translation – or Sharon Olds and Paul Farley poems that I’m sure they’d do wonders with.


2 responses

  1. It’s a lovely record Dan. Like the previous one, on paper it shouldn’t work. Well, actually that’s nonsense. It SHOULD work. On rummaging around in the treasure chests of Eastern Europe pop it’s interesting how often poetry is sung. It may have one way of getting round censors but I like to think there was something more than that.

  2. Obviously the urge to have your own say when you’re fronting a group is strong in countries where you can say what you want (more or less). But since hearing the Wraiths’ first record, I’ve become aware of how much poetry has been set to (pop) music – it’s just that few seem to have done it anything like as systematically as Mog and Jon.

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