Windjammer
Awaken
Self-Released
2022
Windjammer, with their musical wizardry and determinedly outsider stance, evoke not one but two past ages. Firstly, there is the England, or rather Albion, from which all of paganistic spiritualism has evolved; this rakes in many strands of ancient British history sung by this band, subjects as diverse as a seventeenth-century pirate from Newton Ferrers (Henry ‘Long Ben’ Avery) to the ecologically disastrous activities of a nineteenth-century whaling ship from Aberdeenshire. Secondly, they rather splendidly recall the sounds of a specific stylistic development, primarily in England, from just over fifty years ago that shared a fascination with these very same mystical times. I am thinking of that acoustic detour Led Zeppelin took on their third album, Jimmy Page calling out to the demons and wizards in his head, later using a violin bow like a wand; also the Incredible String Band and Dr Strangely Strange, sitting cross-legged and acoustically jamming loosely, their heads filled with knights of the round table and hippy progression. Fairport Convention first kicked this door open in 1969, and, for a while, all the bands in the general vicinity seemed to walk through for a rummage. It did not last, of course, but, crucially, neither was the door bolted shut, which allows Windjammer to get stuck in today and still find plenty to bite into.
Progression is a good word; actually, there is a segment in ‘The Pirate King’ where the wind instrument punctuations are so dramatic that you half expect to look up and see Jethro Tull’s Ian Anderson standing, one-legged, foot pressed against knee and flute flailing wildly from the mouth. The changes in this song and theatricality in the vocal are pure Prog drama, but I use the word in other contexts also; there are times on this album where producer Sean Lakeman realises textures that remind me clearly of sounds Peter Gabriel has put his name to on Real World albums. This pirate tale is a six-minute epic, a proper calling card for the Windjammer modus operandi and, crucially, the strength of all three members is in full view. As a lead singer Jake Sonny Rowlinson sure knows how to put a story across whilst Fran Rowney takes credit for those attention-grabbing low whistles; Jeremy Bunting unleashes the ghost of Bert Jansch in the way he attacks those acoustic guitar strings.
The three members of Windjammer hail from the midlands and northeast of England, yet the seed of their formation was sewn in Plymouth, specifically at folk sessions in the Dolphin Inn. They have thrived and grown around the Cornish and South Devon folk scene, incorporating the surroundings into their sound both lyrically and musically; there is something very south-west about the sea shanty elements splashing against the Windjammer cauldron of sound. Of the musicians themselves; Jeremy is a guitarist in possession of both a dexterous fingerstyle and indeed a guitar designed and made by his own hand; Fran plays multiple instruments, including whistles, accordion and piano; Jake has the touch of the eccentric about him, ideal for a lead vocalist who also plays a bit of harmonium and concertina, his appearance on this album sleeve is like a time-traveller of seventies sci-fi vintage (it is in the hat, scarf and chiselled moustache), not entirely inappropriate as a matter of fact. All three members of Windjammer are folk session regulars, and, again, unsurprisingly, Jake has even enjoyed a bit of Morris dancing when the warm weather allows.
They set their stall out from the outset, ‘Awaken’ is a dreamy ode to their Albion homeland as the lyrics invite our natural landscape to “awaken the pagan in you.” What unfolds is a fully realised album that sounds whole yet is markedly diverse within its grooves. And there are threads running throughout; the natural world is beautifully painted on instrumental ‘Lapwing’ whereas the plucky ‘Blackrock Sands’ sees a young man going through a universal type of awakening.
The real highlight arrives with the penultimate number, ‘Cold Haily Windy Night.’ Entering to a funky bodhran beat, singer Jake truly takes the lead, his vocal a fine example of bruised soulful articulation that brings the emotion of the piece firmly to the forefront. Here Rowlinson dips into his assuredness developed as a folk club solo singer; the concertina and accordion backing are simply mournful and lush on what already sounds to these ears like a psych-folk classic track, fantastic stuff.
The song was originally collected in the nineteenth century and popularised by Martin Carthy; Windjammer have succeeded in pushing it farther on and indeed taking ownership of it. Overall, this quirky trio have succeeded in capturing their essence on record; I now hope this leads to many more awakening to their rich tapestry.
Awaken is out now and available via Bandcamp and Streaming Services.
Website: https://windjammerband.co.uk/
Windjammer are also playing at Sidmouth Folk Festival this year on the Cellarful of Folkadelia afternoon, which is co-curated with Folk Radio UK. More here.