FREYA RAE
Divergence

The title of the album gives us an immediate clue as to both its intent and its success. Based on traditional melodies but then added to with instruments not usually associated with the forms, Freya’s flute and whistles are joined by the percussion of Tim Lane and the clarsach (or small harp if you prefer) of Siannie Moodie. Add in to the mix of a clarinet, tongue drum, sansula (apparently an upgrade on a kalimba)- plus some electronica, the overall result can best be described as mesmerizingly beautiful, with the tunes and grooves augmented by the introduction of unexpected sounds that add a level of interest to an already captivating experience.

Star of the show is Freya’s Silver Boehm system flute, which, and I have this on authority rather than existing knowledge, offers versatility and a wider choice of different key signatures than is normally the case with the trad music that provides the base for their explorations beyond the norm. Within this, there is also room for fiddle (as may be expected) and alto sax, less obvious but decidedly welcome. If we are dealing with expectations, then the musicianship (and production) throughout are of the standard that you would anticipate, but, in a virtuoso world, it’s the inventiveness that gives it that something extra.

At times hypnotic, yet not so much a rave as a revelation, the entries of the unexpected makes repeated listens both an experience and an exploration, there’s even room for a little jazzy motif which just upped the enjoyment level that little bit more.

Could we call It progressive trad – or just settle for a fully absorbing and engaging listen. Listen and choose dear reader, listen and choose.

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