Thickets – Four Last Words
Self Released – 12 October 2018
For those unaware of the music of London alt-folk trio, Thickets, what may strike you upon an initial listening is that the common line-up of instruments, such as guitar, fiddle, mandolin etc. is eschewed in favour of the more esoteric mix of autoharp, cello and drums, and what a refreshingly original sounds this creates. Idiosyncratic though this may be, there is so much more to appreciate on this beguiling 4 track E.P.
The trio have been together for a few years now, and in addition to gigging in and around the capital, they have garnered an increasingly positive reputation following festival performances, including Home Farm, Bestival and the Edinburgh Fringe. With Four Last Words, Rebecca Lavery, vocals/autoharp, Emma Hamilton, vocals/cello and Kieran Lavery, drums, create a sonic landscape which transports the listener into an enchanting alternative world.
To give some idea of the sounds produced, the group claim to have taken inspiration from the likes of Arcade Fire, PJ Harvey and Nick Cave, but what is on offer here is not simply derivative, but highly original, with these references acting merely as touchstones. Listeners, including myself, will also associate elements of their music with other artists, some of whom may, or may not, have been influences too, which positively reflects on the eclectic nature of the songs.
Title track, Four Last Words immediately sets the scene for the remainder of the EP, with haunting, almost ethereal, vocals weaving around melancholic cello and drum patterns. As I write this looking out at drifting fog over a heavy frost, the synergistic relationship between the weather and the music seems entirely appropriate, and, in many ways, chillingly so.
The Gambler’s Waltz, containing lyrics which, unless my ears deceive me, should come with the aural equivalent NFSW warning, again hooks the listener in. Building from an unadorned solo vocal over a low drone, the introduction of harmonies and instruments from about 45 seconds in, builds to a spacey, fragile section that, to these ears, managed to emulate the sort of synthesized sounds recorded by, for example, Tonto’s Expanding Headband. A magical track, which, if it were not for the offending word, I’m sure this could achieve wide airplay.
The jazz-like, percussive opening of Whisper soon unfolds into something far more expansive, as sweet harmonies and cello are interspersed with what, at times, are almost call-and-response vocals, delivered in an achingly mellifluous way, refreshing the parts that that other music cannot reach, to paraphrase.
Closing proceedings is Hymn, a seductive track which creates an effect akin to an imagined Enya / Cocteau Twins collaboration, such is the gossamer-light music delivered. In theory, this combination of autoharp and cello, accompanied by almost cabalistic voices, the musical equivalent of one of Hester Blumenthal’s anomalous culinary creations, perhaps should not work, but it certainly does. This is intelligent stuff; wave after wave of soothing sounds swirl abound, fomenting the ideal ambience for the creation of untold imaginative images and thoughts.
Thickets create fascinatingly original music, and Four Last Words is a real tonic providing a welcome contrast to much of the anodyne outpourings to be heard on mainstream media broadcasting outlets. Seek it out and give it a chance, you may be pleased that you did.
