Jacken Elswyth and Quinie – Betwixt & Between Tapes #4
Betwixt & Between Tapes – 1 May 2019
This is the fourth release in a limited-edition series of half-hour “split-artist” cassette tapes organised by London-based banjo player Jacken Elswyth. On this tape Jacken’s own banjo playing (or, on one track, singing) is paired with the singing of Glasgow-based musician Quinie (aka Josie Vallely), effectively devoting one side of the tape to each artist. As with previous instalments of the Betwixt & Between Tapes (see review of Tape No 3 with Sproatly Smith here), one’s initial impression might be that the constituents make strange bedfellows, but the common denominator is invariably their fascinatingly maverick nature and strength of conviction, which manifests in a strikingly direct, if perhaps also bewildering, communicative power. This in turn stems naturally from the performers’ strongly individual artistic identities and a common penchant for experimentation that renders the timelessly traditional as a defiantly contemporary artefact.
Even so, what you hear is not necessarily quite what the above might lead you to expect. Jacken’s free banjo extrapolations audibly draw on, and build from, both old-time clawhammer Appalachian and American Primitive, but also push at the boundaries of these stylings by virtue of being creatively laced with unusual and extended playing techniques. The first of the disc’s three improvisations, then, is carried out on a bowed banjo with a shruti drone backing, whereas the second mesmerises the listener by use of a rippling delay effect and the third interweaves a percussive chatter created by looping the sound of brushes across the banjo’s skin as a soundscape for improvising across. Jacken’s remaining two tracks comprise an attractive, if comparatively straightforward rendition of the spiritual hymn In Christ There Is No East Or West (clearly inspired by the John Fahey treatment) and an a cappella vocal rendition of The Banks Of Green Willow, audibly and clearly recorded “in the field” with prominent birdsong and other ambient sounds.
On Quinie’s side of the tape, she performs five songs, all but one of which are “instrumentally embellished” by Gordon Bruce and/or Tom Merewether on an assortment of bells, whistles, percussion and reedy drones (though not all at once!). Quinie sings primarily in Scots, in a style very much inspired by the traditions of the Scottish Traveller singers, mother and daughter Jeannie Robertson and Lizzie Higgins. The a cappella Whas At The Windy comes from Lizzie’s repertoire, for instance, and receives a keen performance here. Jean takes the form of a curious segue from wonky reed chords into a snatch of refrain-song with clattering drum, while Link And Scone is arguably nothing more than an extemporised instrumental interlude. Quinie has delicious fun with a pair of kids’ songs, Matt McGinn’s Red Yoyo and Duncan MacRae’s Cock Sparra, the latter especially playfully done with a cheekily lugubrious “reedy drone” counterpoint. Following which, some even stranger sounds then introduce and cocoon Quinie’s final contribution, Blue Boat – a compelling conclusion to this latest gem.
I mentioned this release’s limited-edition status: in true “cottage-industry” fashion, only 100 tapes have been produced, along with 20 CDRs and 10 original hand-carved linocut prints; the Betwixt & Between mascot (the harpy) forms the cover illustration.
Order Betwixt & Between 4 via Bandcamp: https://betwixtbetweentapes.bandcamp.com/album/betwixt-between-4