Since The Unthanks formation, the band have constantly evolved, moving away from purest folk to a sound that’s more expansive, taking in elements of jazz and classical orchestration to create something that’s unique and always compelling. Uncut compared The Unthanks exploration of folk with 2011’s release “Last” to that of Miles Davis, “exploring the wider possibilities” of the genre, pushing boundaries and ignoring constraints.
Mount The Air, the band’s first album in four years, not only continues the group’s desire to explore but sees the band fully embrace new elements, whilst still managing to retain the folk textures and stunning harmonies (of sisters Rachel and Becky) that made the such a compelling proposition in the first place.
The opening, title track, sets the stall out early, as the band stretch their musical freedom, crafting a stunning ten minute epic that begins as a passionate take on classical jazz before developing into an incredible expansive folk number, peppered by both Lizzie Jones expressive trumpet and Becca Spencer’s mournful viola, in places the instrumentation drops back to shuffling drums and those delightful trumpet tones before rising once more around Rachel’s elegant vocal phrasing and those delicious aforementioned harmonies, further enriching the song. In most groups hands a ten minute opening piece would something of a risk, but, Mount The Air is majestic, mesmeric and compelling from the of.
Madam follows and is every bit as magical, though somewhat more stripped back, it opens with a simplistic piano motif from Adrian McNally and Rachel’s gorgeous vocal tones before strings and shimmering, brushed percussion joins the mix, adding to the atmosphere and seducing an already captive audience conjuring images of autumnal Northumberland plane.
From there we’re treated to the sweeping and dramatic strings of Died For Love before moving further from the folk spectrum with the incredible Flutter, a track that brings to mind David Arnold’s production work for Bjork or the trip-hop of Portishead, scattered percussion and strings complimenting repetitive mantra like vocals, showcasing a widescreen imagination well beyond the Unthanks original roots.
Not that the band have completely abandoned their origins, Magpie, proves to be a true folk story, stripped of instrumentation, Rachel and Becky along with Niopha Keegan (fiddle player) mesmerise with their close harmonies and effortless ability to bring a song to life by voice alone.
Elsewhere the band offer up a near eleven minute track in the shape of The Foundling, which is a beautiful piano led lament based around the 18th century story of Thomas Coram’s Foundling Hospital, again strings and trumpet sweep in and out of the mix, whilst Rachel delicately delivers a wonderfully understated croon before the band’s sound swells for the bewitching, instrumental middle section showcasing the true meaning of rise and fall.
The other over riding factor to any Unthanks album is the emotional pull that the band muster in each and every track, Hawthorn is a mesmeric heart-breaker, featuring the desolate bare bones backing of just piano and muted trumpet, alongside Rachel’s passionate, yet mournful reading, whilst For Dad is a fitting Irish tinged fiddle led instrumental lament to Niopha Keegan’s dad that tugs at the heart strings made all the more poignant when you know it’s bookended by the late Patrick’s voice.
Mount The Air sees The Unthanks once again tear up the folk ‘rule book” to expand their already widescreen sound, creating a diverse and infatuating eleven track song cycle along the way, a truly magical journey from start to finish.
Rhythm & Booze Rating 10
www.the-unthanks.com