Duo Emily Kelly and Graham Coe don't fit neatly into any genre, absorbing folk, pop, blue and country into their eclectic style. Playing mostly self penned numbers, and some imaginatively reworked covers, they deliver a surprise package to anyone who's not had the pleasure of seeing them before.
Both are accomplished vocalists and play guitar and mandolin. But the elements which do most to make Jellyman's so unique are Kelly's sweet, but ofttimes bluesy voice, and Coe's remarkable technique and mastery on the cello. Perhaps not the first instrument you'd usually look to for folky inspiration, but Coe can make it bend to the role of bass, strings section, lead guitar and, using his dramatic chopping style, percussion. It's an impressive performance to watch.
Their first half was mostly new material, much of it destined for a forthcoming second album early next year, while the second was largely familiar to their existing fans and included the best cover of a Beatles song you may ever hear. There's still some work to be done on developing a stronger live stage presence, with the introductions seeming almost apologetic at times. A shame as there are some good stories behind many of their songs.
But that's a minor carp. The Jellyman's Daughter are a genuine original. Don't miss out on seeing them if you get the chance.
Sunday, 4 June 2017
Tuesday, 23 May 2017
The Handmaiden
Adapted from the novel Fingersmith, by Sarah Waters, Korean director has moved the setting from Victorian England to his own country in the 1930s, then under Japanese subjugation. The film is quite self-consciously divided into three parts, and each one layers on the complexity and deceptions of the characters' relationships.
A young Korean woman, Sook-hee, leaves her family to take up a post as a domestic in the house of wealthy bibliophile Kouzouki. The housekeeper, very much an Asian Mrs Danvers, briefs her on her duties as handmaiden to her master's niece, the beautiful and naive Hideko. A hard up Japanese aristocrat, Count Fujiwara, arrives to help Kouzouki create fakes of valuable old books, and give art lessons to the young woman, in whom he begins to take a considerable interest.
In flashback we learn of the first level of deceit, as it is revealed that the 'count' is an aspirational Korean con-man who has recruited Sook-hee, from a gang of pickpockets, to aid him in seducing her mistress into marrying him so that he can make off with her considerable fortune. And that Hideko is less in control of her destiny than we'd thought, being very much under the control of her sadistic uncle.
Part one, largely scene from the handmaiden's point of view, ends with an unexpected double cross. From then on the layers of chicanery and mistrust build upon one another. Part two relives many of the same scenes, but this time from Hideko's perspective, and fills in the background of her own life to show why she isn't quite the ingenue first portrayed. As the relationships become more convoluted it is less clear who is manipulating who, and to what ends.
In the final part the action follows on from the first two, with further plot twists and, eventually, some clarity as to who are the winners and losers in this battle of wits and lies. Even at the final resolution, not everyone gets what you expect.
The Handmaiden is a wild mix of historical romance, thriller, eroticism, art house and psychological drama. It might even be seen as feminist, with two strong female leads who get to run rings around the confused men. In the background lurks the occupying power, and the decisions the local population have to make in how far to go with collaboration, how much to resist. Under a colonial regime nobody can afford to just be themselves, and deception is as much a part of the society as it is in the lives of the main characters. The subtitles are in white when Korean is being spoken, yellow for Japanese, and the mix helps reflect the snobberies, allegiances and role playing that are an integral part of foreign occupation.
It's also a very sexy movie, teasingly so in the early scenes, moving on to some intense couplings later. These do have a whiff of male fantasy about them, but ultimately justify their inclusion through their adding to our knowledge of the shifting balance of power and faith between the characters. It might also contain the most erotic dentistry scene you'll ever watch!
At near enough two and half hours it could be a long haul for the viewer, but the twists and turns of the plot are more than enough to hold the interest, and it's never clear until the titles roll if there are any further scorpion stings to hit home. I found myself thinking I could happily watch again, now relieved of the need to pay close attention to the subtitles and able to soak in the intense visual experience. It's a beautiful film to watch, especially round the sumptuous the interiors of Kouzouki's vast home, a fantasy mix of Japanese and English architecture, with it's very own deception built in.
It might stray into the ridiculous at times - what was that giant octopus doing in there? - but underlying all the smart cinematic dazzle is a strong storyline and all the curveballs you could want to keep you guessing. Highly recommended.
A young Korean woman, Sook-hee, leaves her family to take up a post as a domestic in the house of wealthy bibliophile Kouzouki. The housekeeper, very much an Asian Mrs Danvers, briefs her on her duties as handmaiden to her master's niece, the beautiful and naive Hideko. A hard up Japanese aristocrat, Count Fujiwara, arrives to help Kouzouki create fakes of valuable old books, and give art lessons to the young woman, in whom he begins to take a considerable interest.
In flashback we learn of the first level of deceit, as it is revealed that the 'count' is an aspirational Korean con-man who has recruited Sook-hee, from a gang of pickpockets, to aid him in seducing her mistress into marrying him so that he can make off with her considerable fortune. And that Hideko is less in control of her destiny than we'd thought, being very much under the control of her sadistic uncle.
Part one, largely scene from the handmaiden's point of view, ends with an unexpected double cross. From then on the layers of chicanery and mistrust build upon one another. Part two relives many of the same scenes, but this time from Hideko's perspective, and fills in the background of her own life to show why she isn't quite the ingenue first portrayed. As the relationships become more convoluted it is less clear who is manipulating who, and to what ends.
In the final part the action follows on from the first two, with further plot twists and, eventually, some clarity as to who are the winners and losers in this battle of wits and lies. Even at the final resolution, not everyone gets what you expect.
The Handmaiden is a wild mix of historical romance, thriller, eroticism, art house and psychological drama. It might even be seen as feminist, with two strong female leads who get to run rings around the confused men. In the background lurks the occupying power, and the decisions the local population have to make in how far to go with collaboration, how much to resist. Under a colonial regime nobody can afford to just be themselves, and deception is as much a part of the society as it is in the lives of the main characters. The subtitles are in white when Korean is being spoken, yellow for Japanese, and the mix helps reflect the snobberies, allegiances and role playing that are an integral part of foreign occupation.
It's also a very sexy movie, teasingly so in the early scenes, moving on to some intense couplings later. These do have a whiff of male fantasy about them, but ultimately justify their inclusion through their adding to our knowledge of the shifting balance of power and faith between the characters. It might also contain the most erotic dentistry scene you'll ever watch!
At near enough two and half hours it could be a long haul for the viewer, but the twists and turns of the plot are more than enough to hold the interest, and it's never clear until the titles roll if there are any further scorpion stings to hit home. I found myself thinking I could happily watch again, now relieved of the need to pay close attention to the subtitles and able to soak in the intense visual experience. It's a beautiful film to watch, especially round the sumptuous the interiors of Kouzouki's vast home, a fantasy mix of Japanese and English architecture, with it's very own deception built in.
It might stray into the ridiculous at times - what was that giant octopus doing in there? - but underlying all the smart cinematic dazzle is a strong storyline and all the curveballs you could want to keep you guessing. Highly recommended.
Monday, 22 May 2017
Kris Drever, Queens Hall
No support act tonight, just 2 sets of Mr D, ably assisted by Euan Burton on double bass, and Louis Abbott, of Admiral Fallow fame, on drums, backing vocals, occasional keyboard, and a bit of left thigh! Mostly familiar songs to Drever fans, drawn from his three excellent solo albums, with one new number he'd written for a commission from the BBC about the First World War. A good mix of self penned material, and songs from a variety of sources, covering the personal and political, romantic and bleak, thoughtful and rousing.
Changes to phrasing and arrangements brought a bit of freshness to the sound. Burton's sympathetic bass playing was both unobtrusive and essential, while Abbott was clearly enjoying himself on the drums with a great contribution heightening the drama of The Allegory. Of course Kris is now recognised as one of Britain's finest guitarists, and his accompaniments and solos were inventive and absorbing. His voice might not have the widest of ranges, but is always distinctive and full of character, and he chooses his material wisely. A joy to listen to.
The introductions were kept short, but Drever's dry humour was evident throughout and he delivered a couple of background tales with some style. All too soon the gig came to an end with, as encore, a rousing rendition of Boo Hewerdine's classic Harvest Gypsies. A great night's entertainment.
Changes to phrasing and arrangements brought a bit of freshness to the sound. Burton's sympathetic bass playing was both unobtrusive and essential, while Abbott was clearly enjoying himself on the drums with a great contribution heightening the drama of The Allegory. Of course Kris is now recognised as one of Britain's finest guitarists, and his accompaniments and solos were inventive and absorbing. His voice might not have the widest of ranges, but is always distinctive and full of character, and he chooses his material wisely. A joy to listen to.
The introductions were kept short, but Drever's dry humour was evident throughout and he delivered a couple of background tales with some style. All too soon the gig came to an end with, as encore, a rousing rendition of Boo Hewerdine's classic Harvest Gypsies. A great night's entertainment.
Friday, 12 May 2017
My Country : A Work in Progress, Traverse
Britney - sorry, that should read Britannia - is having a meeting, a sort of gathering, and she's invited her closest friends - Caledonia, Cymru, Northern Ireland, and the South West, North east and East Midlands of England. It's a gathering to watch the big decision being made, and there's no chance that they'll all go away happy.
Following the EU referendum last June the National Theatre collected interviews with people of all ages from across the UK. Many of their statements are wound into the fabric of the drama, plus the words of some of the more prominent politicians involved. The result doesn't tell us anything new, but it is very entertaining. Wonderfully funny in places, with a bit of a song and dance thrown in, it's a well constructed ninety minutes. But it's striking how many of the voices are, even after the vote, still so ill informed about the subject. One of them has even gone on on to become Foreign Secretary.
Led by Penny Layden as Britannia, it's an impressive ensemble performance. there's complex physical and verbal choreography throughout, as the representatives show up their differences and bring out the voices of the interviewees. All six have to bring to life a range of characters and voices, often crossing over one another and sometimes descending into rabble. Layden has the most fun, imitating the political figures - Cameron and Gove are hard to tell apart at times, but then neither has much of a personality. Her Niggle Fuhrage is suitably bombastic (and swiftly brought my anger to boiling point saying "without a shot being fired" - a photo of Jo Cox popped up early on as a reminder of how hollow that nonsense was). There's a brief appearance for May towards the end, as meaningless as ever, but she has by far the greatest fun with Johnson and his ludicrous affectations.
There are no great revelations, but it's an effective illustration of just how bitterly divided and broken the UK has become. Worth a look.
Following the EU referendum last June the National Theatre collected interviews with people of all ages from across the UK. Many of their statements are wound into the fabric of the drama, plus the words of some of the more prominent politicians involved. The result doesn't tell us anything new, but it is very entertaining. Wonderfully funny in places, with a bit of a song and dance thrown in, it's a well constructed ninety minutes. But it's striking how many of the voices are, even after the vote, still so ill informed about the subject. One of them has even gone on on to become Foreign Secretary.
Led by Penny Layden as Britannia, it's an impressive ensemble performance. there's complex physical and verbal choreography throughout, as the representatives show up their differences and bring out the voices of the interviewees. All six have to bring to life a range of characters and voices, often crossing over one another and sometimes descending into rabble. Layden has the most fun, imitating the political figures - Cameron and Gove are hard to tell apart at times, but then neither has much of a personality. Her Niggle Fuhrage is suitably bombastic (and swiftly brought my anger to boiling point saying "without a shot being fired" - a photo of Jo Cox popped up early on as a reminder of how hollow that nonsense was). There's a brief appearance for May towards the end, as meaningless as ever, but she has by far the greatest fun with Johnson and his ludicrous affectations.
There are no great revelations, but it's an effective illustration of just how bitterly divided and broken the UK has become. Worth a look.
Tuesday, 9 May 2017
Lady Macbeth
Katherine (Florence Pugh) has been sold into a loveless marriage to live a lonely existence in a house dominated by the cruelty of her father in law. Ignored by her husband, she is forced into a life of tedious routine. When both men are away for a long period she takes the chance to reawaken her love for the outdoors and desire for a more exciting existence. This leads into a passionate affair with Sebastian (Cosmo Jarvis) one of her husband's employees, a path that can only lead to conflict. But Katherine proves to be the stronger personality over all those who seek to put obstacles in her path, and has no qualms about taking whatever actions she thinks necessary to protect the life she wants to lead.
Based on a nineteenth century Russian novella, and transposed to northern England in the 1860s, this Lady Macbeth is ambitious for herself, not her husband. She's determined to break through the patriarchal system that denies her humanity and tries to stifle her needs. Even if that means committing the most brutal of crimes.
It's real slow burner of a drama. There's a great deal of silence and repetition to establish just how dull her married existence is, and a slow increase in the suffocation of her personality. When she's released to live her own life it is literally a breath of fresh air as the camera opens up from the claustrophobia of the house onto the distant horizons of the moors. It's easy to understand why it would be impossible for her to return to the old regime. But at any cost?
Pugh is magnificent as the central spindle which others must cling to or be thrown away. Even as her crimes become as monstrous as the title suggests, she is able to retain a shred of sympathy from her audience for the injustices she suffered that put her on this road. A feminist anti-hero.
The film is also notable for showing the Britain of the time as a more racially diverse place than is usually represented on screen, but doesn't shy away from the racism that existed either.
It's a bleak and dark tale, but with a fascinating and complex central character who holds the attention throughout.
Based on a nineteenth century Russian novella, and transposed to northern England in the 1860s, this Lady Macbeth is ambitious for herself, not her husband. She's determined to break through the patriarchal system that denies her humanity and tries to stifle her needs. Even if that means committing the most brutal of crimes.
It's real slow burner of a drama. There's a great deal of silence and repetition to establish just how dull her married existence is, and a slow increase in the suffocation of her personality. When she's released to live her own life it is literally a breath of fresh air as the camera opens up from the claustrophobia of the house onto the distant horizons of the moors. It's easy to understand why it would be impossible for her to return to the old regime. But at any cost?
Pugh is magnificent as the central spindle which others must cling to or be thrown away. Even as her crimes become as monstrous as the title suggests, she is able to retain a shred of sympathy from her audience for the injustices she suffered that put her on this road. A feminist anti-hero.
The film is also notable for showing the Britain of the time as a more racially diverse place than is usually represented on screen, but doesn't shy away from the racism that existed either.
It's a bleak and dark tale, but with a fascinating and complex central character who holds the attention throughout.
Sunday, 7 May 2017
Rura, TradFest, Summerhall
They're still very young, but Rura are already a well established force on the folk scene. This was their first gig without vocalist Adam Holmes, but they had an excellent replacement in Dallahan's Jack Badcock. As they also did with Holmes, the singer doesn't take the stage for the opening sets of tunes, only joining the others for the songs. This does lend a curiously disjointed feel to the performance at times.
Which does nothing to detract from the music itself. Right from the start this band show they know how to raise the spirits. Well balanced sets of tunes, a mix of traditional and modern, varied tempos and instrumentation, and imaginative arrangements make for high octane traditional style music. Adam Brown's guitar provide a solid backing to the melodies of fiddle, whistles, flute and highland bagpipes. Add in David Foley's subtle bodhran playing and you have driving rhythms and powerhouse sound.
Badcock's voice is softer than that of Holmes, and the sound man wasn't doing him any favours at times, but the band have chosen well and he fits right in. Even those already familiar with Adam's delivery of establish Rura favourites like Mary and Allegory could have no complaints about Jack's renditions. Brown and fiddler Jack Smedley took on most of the introductory duties to give us a bit of background to the numbers, and Foley provides some amusing interjections.
Rura are developing into one of the best live acts on the folk scene delivered an exciting night of music. There's nothing quite like the rousingly muscular sound of the bodhran and pipes to get the blood pumping.
Which does nothing to detract from the music itself. Right from the start this band show they know how to raise the spirits. Well balanced sets of tunes, a mix of traditional and modern, varied tempos and instrumentation, and imaginative arrangements make for high octane traditional style music. Adam Brown's guitar provide a solid backing to the melodies of fiddle, whistles, flute and highland bagpipes. Add in David Foley's subtle bodhran playing and you have driving rhythms and powerhouse sound.
Badcock's voice is softer than that of Holmes, and the sound man wasn't doing him any favours at times, but the band have chosen well and he fits right in. Even those already familiar with Adam's delivery of establish Rura favourites like Mary and Allegory could have no complaints about Jack's renditions. Brown and fiddler Jack Smedley took on most of the introductory duties to give us a bit of background to the numbers, and Foley provides some amusing interjections.
Rura are developing into one of the best live acts on the folk scene delivered an exciting night of music. There's nothing quite like the rousingly muscular sound of the bodhran and pipes to get the blood pumping.
Donegal to Dun Èideann, TradFest, Storytelling Centre
Amy Geddes of Galloway and Liz Doherty from Donegal, two women to whom fiddle playing looks as natural as breathing. Ably backed by the serene Kevin Mackenzie on guitar, they provided and hour of tunes from their own native traditions, the music of Cape Breton, and some contemporary pieces. Clearly delighted to be playing together again, there was a good mix of the the slow and the fast. A beautiful slow air from Geddes stood out for it's emotional impact, but it was the faster reels and jigs that got the toes tapping - literally in the case of a guest step dancer who joined them on stage for a few numbers.
There clearly hadn't been a lot of time to rehearse as a trio, so the gig had a charmingly shambolic element, the two feeding off each other's falterings to introduce the sets. But that just added to the fun. It's a pity that the small audience was so inhibited,for the performance deserved a rowdier appreciation.
A delight for anyone with a love of traditional Celtic fiddle playing.
There clearly hadn't been a lot of time to rehearse as a trio, so the gig had a charmingly shambolic element, the two feeding off each other's falterings to introduce the sets. But that just added to the fun. It's a pity that the small audience was so inhibited,for the performance deserved a rowdier appreciation.
A delight for anyone with a love of traditional Celtic fiddle playing.
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