Alasdair Roberts - Grief In The Kitchen And Mirth In The Hall

Alasdair Roberts Grief In The Kitchen And Mirth In The Hall Label Drag City Erstveröffentlichung 31.03.2023 Format LP Lieferzeit 1 – 3 Werktage Preis 25,95 € (inkl. MwSt. zzgl. Versand)

23er, seine wunderbare Stimme liebe ich einfach. Diesmal wieder ein vordergründig ganz schlichtes Album, komplett solo, die Instrumentierung beschränkt sich auf seine Akustikgitarre (kongenial gespielt! Bestechend schön zuweilen!) oder Piano (in 3 Stücken, die tendenziell in niedrigerem Tempo gehalten sind). Traditioneller schottischer Folk pur, recht häufig balladesk, ruhig vorgetragen (aber nicht zwangsläufig wirklich langsam) und gern poetisch anmutend (was nicht nur einmal im starken Kontrast zum Inhalt der Texte steht), zugleich emotional packend. Zwischendurch klingt es schon mal rhythmisch ungewöhnlich interessant, einer der Tracks wird auf 7 Minuten ausgedehnt, ohne an Wirkung zu verlieren. Daß er auf eigene Kompositionen verzichtet, passiert ja nicht zum ersten Mal, meist sind es schottische Traditionals hier, aber auch ein paar irische sind darunter. Ausgesprochen empfehlenswert, wie die meisten seiner Alben. (detlev von duhn)

 Alasdair returns to his roots with Grief in the Kitchen and Mirth in the Hall, his fifth full-length collection of traditional song. Recorded live in the studio, it is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair"s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada"s eastern seaboard too. The record takes its title from a line in the final verse of one of its songs, "The Baron o" Brackley" - a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it"s a title which goes some way towards encapsulating many of the record"s themes. Collectively the songs treat of various conflicts and tensions - those of gender; of class, status and position; and of geography and tribal belonging - and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget! As with many of Alasdair"s recordings, Grief in the Kitchen and Mirth in the Hall contains ballads aplenty: tragic ("Bob Norris"), supernatural ("The Holland Handkerchief") and dramatic ("Eppie Morrie"). There are love songs ("The Lichtbob"s Lassie") and anti-love songs ("Kilbogie"). There are rare, seldom-heard pieces ("Young Airly") and much more well-known ones ("Mary Mild," a version of "The Queen"s Four Maries"). Woven through all of this - a thread of levity, perhaps - is a triptych of zoological allegories - a panegyric to a mystical steed ("The Wonderful Grey Horse"), a lament for a lost cow ("Drimindown") and a paean to a regal waterbird ("The Bonny Moorhen"), which serves to highlight the intersection of the mythic, the eternal and the mundane at which we all find ourselves in every day of our life on Earth. Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day.

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