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Preview; JIM MORAY The Philharmonic Hall.

Byline: Jade Wright

YOU think you know folk music and then someone like Jim Moray comes along.

He comes bearing Skulk, a fifth album of soulful English music, plus a sheaf of industry awards and the wherewithal to locate folk music in its rightful landscape: the modern world.

In Jim's vision, the oral tradition is electrified, not only technically but emotionally.

Fact is, folk music as it was constituted by the English revivalists of the 1950s and early 1960s was an historical blip. A sort of digression.

Folk was never intended for ideological scrutiny, never conceived to be the subject of research, never sung as a corrective to the vanities of modernity.

Thankfully Moray sees pop, rock and folk all as parts of the same musical world - because they are.

He has known no other way to think about music. From his debut, Preview JIM MORAY The Philharmonic Hall YOU think you know folk music and then someone like Jim Moray comes along.

world in which we all live.

by Jade Wright He comes bearing Skulk, a fifth album of soulful English music, plus a sheaf of industry awards and the wherewithal to locate folk music in its rightful landscape: the modern world. Skulk was produced by the man himself over the past couple of years with a supporting cast of musicians sympathetic to his tastes and sensibilities.

In Jim's vision, the oral tradition is electrified, not only technically but emotionally. With two exceptions, the songs are traditional in provenance but absolutely modern in form and delivery. The other two are by Lindsey Buckingham and Anais Mitchell.

BBC Folk Award-winning album in 2003, Sweet England, through Jim Moray (2006), Low Culture (2008 Roots Critics Poll Best Album and Mojo Folk Album of the Year) and In Modern History (2010), Moray's career has been a continuous avowal of folk's relevance to contemporary life and its total indivisibility from the impulses which shape the very best rock and pop.

Fact is, folk music as it was constituted by the English revivalists of the 1950s and early 1960s was an historical blip. A sort of digression. The world of Skulk admits of no boundaries, no more between Child Ballad and Fleetwood Mac than between Ralph Vaughan Williams and Nic Jones.

He deploys beatboxes and melodeons, electric guitars and thumb pianos, mandolins and rappers. Folk was never intended for ideological scrutiny, never conceived to be the subject of research, never sung as a corrective to the vanities of modernity. The album is released on Monday though Cadiz/Universal - for details see http://jimmoray.

He sings with the kind of English soul which has no home century.

Thankfully Moray sees pop, rock and folk all as parts of the same musical world - because they are. bandcamp.com. He's playing a gig at the Rodewald Suite at the Philharmonic Hall on Wednesday April 18 to promote it. Tickets are pounds 15 from www.liverpoolphil.com or the box office on 0151 709 3789.

He has known no other way to think about music. From his debut, And now comes his best album yet: an inventory of all the ways in which the folk tradition and rock and pop together speak to the world in which we all live.

Skulk was produced by the man himself over the past couple of years with a supporting cast of musicians sympathetic to his tastes and sensibilities.

With two exceptions, the songs are traditional in provenance but absolutely modern in form and delivery. The other two are by Lindsey Buckingham and Anais Mitchell.

The world of Skulk admits of no boundaries, no more between Child Ballad and Fleetwood Mac than between Ralph Vaughan Williams and Nic Jones.

The album is released on Monday though Cadiz/Universal - for details see http://jimmoray.

bandcamp.com. He's playing a gig at the Rodewald Suite at the Philharmonic Hall on Wednesday April 18 to promote it. Tickets are pounds 15 from www.liverpoolphil.com or the box office on 0151 709 3789.
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Title Annotation:Features
Publication:Liverpool Echo (Liverpool, England)
Date:Apr 6, 2012
Words:668
Previous Article:Out & About.
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