9Bach

Nabídka veletrhu Womex byla zvlášte bohatá, vedle skupin vybraných odbornou porotou se tu prezentovaly i jednotlivé zeme. Na velmi pozoruhodném zahajovacím veceru to byla Korea, následovaly Kanada, Španelsko a také Wales, region sice patrící do hudebne velmi štedré keltské rodiny, pricemž muzikanti z Walesu jsou ale ve srovnání s irskými, skotskými ci bretanskými témer neznámí. Skupina 9bach spojuje jemné tradicní melodie se atypickou kombinací elektrické kytary, indického harmonia a harfy. Její kytarista a vedoucí o sobe prozradil, že on sám je Anglican, ale z Walesu je jeho žena a jejím rodným jazykem je tedy welština, v níž zpívá veškerý repertoár, který navzdory jazykové odlišnosti silne pripomíná anglické balady, známé od Fairport Convention ci Steelye Span. Nejpusobivejší císlo vecera predstavila jako “nejsmutnejší lidovou písen všech dob, o svobodné dívce, která otehotní, všichni ji odvrhnou, vyženou ji dokonce z kostela, ona se dívá do welšské reky Dyfrdwy a nakonec do ní skocí a utopí se.”

Hlavní cást programu ovšem tvorily umelci vybraní nezávislou porotou Sedmi samuraju, od srbské polyfonie až po berberský trans z Maroka se skupinou Oudaden, která si na Womex do Kodane odskocila z velmi vydareného koncertu v pražském Lucerna Music Baru. V nabídce nechybel ani jeden z tech nejsofistikovanejších stylu evropského kontinentu, portugalské fado, které známe predevším v ženském podání. O to vetším prekvapením byl mladý muž jménem Antonio Zambujo, výsostne muzikální zpevák jiskrou v hlase, který pusobí spíše jako Brazilec než jako Portugalec. Pochází z jižního portugalského regionu Alentejo, a i když zvolil nástrojovou kombinaci s klarinetem a cavaquinhem, malickou, ostre rytmickou kytarou z Kapverd, která se prísne dodržovanému kytarovému doprovodu tradicního fada vymyká, v jeho prípade to pusobilo harmonicky a dokonale. “To, že jsem použil taky klarinet, je docela logické, klarinet a violoncello jsou nástroje velmi spríznené s lidským hlasem, a navíc, já nemám rád pravidla, k mému životu patrí svoboda, a když se ty nové nástroje osvedcily na zkoušce, zacal jsem - Petr Doruzka

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- Smashing Mag

Au sous-sol, belle plongée dans le blues du Pays de Galles. D'une voix qui évoque celle de P.J. Harvey, une brune au teint pâle chante en gallois les histoires de jalousie et de déchéance les plus gothiques que l'on puisse trouver dans le répertoire traditionnel du Royaume-Uni. Derrière elle, une harpe et une guitare électrique s'entre-déchirent. C'est 9Bach et c'est une belle découverte - Mondomix

9Bach have been orchestrating a unique brand of Welsh-language folk for a couple of years now, and some of you may recall their frontwoman Lisa Jen Brown singing on Gruff Rhys' avant-pop album Candylion. Along with her husband Martin Hoyland, the outfit strike a slightly melancholy affair, which appeals most when it comes up for air and optimism, such as on the early morning sparkle of 'Yr Eneth Gadd Ei Gwrthod' and the gracefully seductive 'Cariad Cyntaf'.
The history of alternative Welsh language music shines through this record's various laments and storytelling expeditions, recalling at times Bran, Sidan and Eleri Llwyd, all of whom can be tracked down on the essential compilation Welsh Rare Beat.
It's a fine thing that 9Bach are keeping this lineage going, and even finer that they're doing so with poetic integrity and spooky imaginations. Viva Cymru!
- Rick Rawlins

9Bach finally present their debut album after four years together, doing for Welsh traditional songs, what Liege & Lief did for the English. The quintet led by Martin Hoyland and Lisa Jen Brown, mix Welsh folk songs and instruments with the the standard rock line-up of bass, guitar, and drums. To the outsider they are something of an enigma. There is precious little information contained ob the CD cover and their MySpace page is a masterpiece of evasion. They may claim Viv Richards and Will Self as influences but it doesn't help the poor bloody reviewer.
Their music is a different matter, displaying all the polish that those four years have brought to bear. There are pretty tunes like "Yr Eneth Gadd ei Gwrthod" with delicate harp decoration, solid, sometimes ponerous, sometime weird, rock backings - such as "Llongau Caernarfon" and everything in between. "Lisa Lan" is the most familiar piece, having been used by everyone from Sibelius to Cerys Matthews and turning up in "Crash". 9Bach make it their big production number and closing track. 9Bach is an album that really gets under your skin-it's something rather special - Dai Jeffries

"New Folk from the old country" boasts their label, itself telligly named after an album by Meic Stevens, Godfather of Welsh language independent music. The core of 9Bach is guitarist Martin Hoyland and singer Lisa Jen, and everyting is exquisitely sung in Jen's native tongue, her voice reminiscent of a Clannad era Enya. Underpinned by tradition, their haunting songs come embellished with harp and harmonium, but are invariably drenched in electric guitar, heavy bass, drums, and Fender Rhodes. The result, highlighted on "Mae Nhw'n Dwedyd", is a melange of Portishead, Cocteau Twins, and Lorca-era Tim Buckley - Mick Houghton

A deeply, dark, beguiling, and delicious object, the debut album of 9Bach is a polarising experience. It's not in the least straight-forward, yet it is powreful, complex, and simpistic all at once; be in no doubt I love it thoroughly. For all the familiarity, even cosiness of some of the titles on the back cover of the digipack, this is a step into new territory for Welsh roots. 9Bach haven't so much discovered their heritage as been forcibly attacked by it and are living out a glorious aftershock that we can all share.

The overall impact of the album is gothic, a seriousness pervades, yet everything is based in a simplicity, all of which may sound like a contradiction in terms; you could even say it may be a recipe for disaster, no matter how well intentioned. However they've been clever, really clever, anchoring a variety of textures around the alluring voice Lisa Jen Brown, and allowing creative clashes with instrumentation that bring out a rare passion. The fact that Lisa and partner Martin Hoyland have taken this material from the odd number sung around the table at home - through a slow cook, drip feeding tracks on a series of limited-run singles - to fruition at Wings For Jesus studios in Cardiff, means they've kept matters under control and on target.

Opener "Bwthyn Fy Nain" explodes in a weld of guitars, reverb, tic toc percussion and gloomy bass; there is little that you can hang a folksy referance on, spirit of indie has pervaded. The ensuing " C'weiriwch Fy Ngwely" is childlike even innocent, set up over cyclical guitar figure and jagged harp; Then things get seriously ghostly: "Mae Nhw'n Dwedyd" comes over detached and otherworldly, the voice slowly seeping through a filter of harp and echoing drums, Lisa Jen crooning as the guitar builds in sharp resonance. It's the forcing together of the familiar with the downright unexpected that's half of 9Bach's appeal. Their stated aim of giving old rooty new form and shape has been realised with amazing clarity and foresight. Indulge me just a couple more rambles; "Pontypridd" is a gem where hypnotic runs from multi-tracked harps ensure a bounce and vitality; " Pa Bryd y Deui Eto?" is another echoing piece with dirty guitars and fat beats, utterly seductive. Yet what they cunjure from the old chesnut "Lisa Lan" is exceptional; It starts in fair acoustic fashion, but soon builds to a full-fledged race as instruments tumble over each other in breathless chase, closing as cannily as it begam, in a meandering Welsh trance.

9Bach have rarely been far from my CD player for several months now and the arrival of their first album is a sign that really significant events are afoot over the border. Just wonderful - Simon Jones

It has been a while in the making but 9Bach’s debut album has been worth the wait and there’s great anticipation here tonight to see how its blend of traditional welsh folk tales, trip-hop grooves and reverberating guitar fare on-stage.

They don’t disappoint and this is in no small part due to the brief explanations from vocalist Lisa Jen which preface each number. The set begins with Rope, a happy-go-lucky song, featuring delicate harp work and divine vocal harmonies from Lisa and Esyllt, about a man who wants to, and then does, strangle his wife. 9bach bring new interpretations to traditional Welsh music although, it has to be said, they appear to be very much drawn to the darker side of folk tales. Trout is so called because it is about an unwanted, pregnant girl who sees the fish swimming free on the river bed and wishes she was with them. It’s beautiful in Welsh says Lisa but it doesn’t seem to translate well. There’s no hope in this tale though and by the 4th verse the poor girl has got her wish, floating dead in the water holding a note which simply says I was the unwanted girl. It’s not Agadoo is it!

The subject matter may be dark but the delivery is transfixing, the use of harmonium particularly adds to the haunting beauty of the experience. The translation from album to stage isn’t all perfect however and while the thundering bass works perfectly on numbers like Nain it, on occasions, threatens to crush the delicacy of the other instrumentation, but then this is not the ideal venue for achieving concert hall sound. Before the night is out we are thrown a few crumbs of comfort in the form of Cariad which is a tale of young love from which, miraculously, the participants emerge unscathed, although the poor lad lost at sea in next song Caernarfon is not so lucky. If you get the chance then you should definitely try a night out with 9Bach, yes people will die along the way but their sacrifice will be your gain - Steven Burnett

The Music Fix first became aware of the exquisite 9Bach when they accompanied Gruff Rhys on the madcapCandylion tour. Since then we’ve eagerly scoured listings and release schedules hoping to chance upon them again but, until now, they’ve been exceptionally elusive. I know that tradition dictates that you should always leave an audience wanting more but this was getting ridiculous. All of a sudden and 9Bach are everywhere, a GreenMan set last week, an album through the letterbox this week and a Cardiff date next week; it never rains but it pours.

Not that we’re complaining you understand. Now, I have to tell you, listening to the album is a fundamentally different experience to catching 9Bach live and to a certain extent I feel that I’m out of my depth. Look, I’m a Cardiff boy, I’m proud to visit the Millennium Stadium and cheer on Gareth Bale as he nips down the wing but I just can’t speak Welsh. This is rarely a significant disadvantage but today I’m at a bit of a loss. When you see the band live Lisa Jen will give the audience some verbal crib notes before performing a song but here, I’m on my own. I’ll do my best…

Fortunately I can recall a few things from last week’s festival set and can confidently tell you that opening track Bwthyn fy Nain is a traditional Welsh folk tale about an old woman who has lived her entire life on a quiet mountainside, tending her pgs and sheep and in blissful ignorance of the horrors of war, terrorism and hate which beleaguer the rest of the world. A song which yearns, I suppose, for the freedom to escape the artificial, man made problems of the world. It is beautifully recorded with a simple arrangement which nevertheless veers away from the traditional welsh folk approach and instead gives the music space to breathe and resonate, resulting in a sound as warm and organic as that of the Cowboy Junkies Trinity Sessions. They didn’t have a xylophone solo though so extra points to 9Bach there.

The arrangement of Mae Nhw’n Dwedyd provides the first real surprise of the album as it is more Portishead than Planxty. This underlines the determined 9Bach manifesto to make these ancient folk songs accessible to a contemporary audience. They may be delivered in their original tongue but there’s really nothing to scare the non-native Welsh speaker from engaging with 9Bach. Just listen to the heartbreaking yearning in Lisa’s harmonium accompanied voice as she delivers Llongau Caernarfon and you instantly know this is a song of loss, you don’t need to know that she’s scouring the horizon for he long-lost sailor husband in order to connect. The language ought to be no more a barrier than the Northumbrian dialect of The Unthanks would be to appreciating their traditional tunes.

Pontypridd is perhaps the most ‘traditional’ folk performance of the set and comes complete with some enchanting arpeggios and lilting melodies from Esyllt Jones’ harp. This arrangement contrasts perfectly with the bass heavy Pa Bryd y Deui Eto which tips a nod to the Super Furries. Closing track Lisa Lan is also notable for it’s bass lines which recall those of Pentangle’s Danny Thompson, carrying Lisa’s spellbinding vocals along with them before finally cutting them loose and allowing them to fade out into the ether. The perfect album for all those long, dark winter nights ahead of us. Highly recommended.


- Steven Burnett

The Music Fix first became aware of the exquisite 9Bach when they accompanied Gruff Rhys on the madcapCandylion tour. Since then we’ve eagerly scoured listings and release schedules hoping to chance upon them again but, until now, they’ve been exceptionally elusive. I know that tradition dictates that you should always leave an audience wanting more but this was getting ridiculous. All of a sudden and 9Bach are everywhere, a GreenMan set last week, an album through the letterbox this week and a Cardiff date next week; it never rains but it pours.

Not that we’re complaining you understand. Now, I have to tell you, listening to the album is a fundamentally different experience to catching 9Bach live and to a certain extent I feel that I’m out of my depth. Look, I’m a Cardiff boy, I’m proud to visit the Millennium Stadium and cheer on Gareth Bale as he nips down the wing but I just can’t speak Welsh. This is rarely a significant disadvantage but today I’m at a bit of a loss. When you see the band live Lisa Jen will give the audience some verbal crib notes before performing a song but here, I’m on my own. I’ll do my best…

Fortunately I can recall a few things from last week’s festival set and can confidently tell you that opening track Bwthyn fy Nain is a traditional Welsh folk tale about an old woman who has lived her entire life on a quiet mountainside, tending her pgs and sheep and in blissful ignorance of the horrors of war, terrorism and hate which beleaguer the rest of the world. A song which yearns, I suppose, for the freedom to escape the artificial, man made problems of the world. It is beautifully recorded with a simple arrangement which nevertheless veers away from the traditional welsh folk approach and instead gives the music space to breathe and resonate, resulting in a sound as warm and organic as that of the Cowboy Junkies Trinity Sessions. They didn’t have a xylophone solo though so extra points to 9Bach there.

The arrangement of Mae Nhw’n Dwedyd provides the first real surprise of the album as it is more Portishead than Planxty. This underlines the determined 9Bach manifesto to make these ancient folk songs accessible to a contemporary audience. They may be delivered in their original tongue but there’s really nothing to scare the non-native Welsh speaker from engaging with 9Bach. Just listen to the heartbreaking yearning in Lisa’s harmonium accompanied voice as she delivers Llongau Caernarfon and you instantly know this is a song of loss, you don’t need to know that she’s scouring the horizon for he long-lost sailor husband in order to connect. The language ought to be no more a barrier than the Northumbrian dialect of The Unthanks would be to appreciating their traditional tunes.

Pontypridd is perhaps the most ‘traditional’ folk performance of the set and comes complete with some enchanting arpeggios and lilting melodies from Esyllt Jones’ harp. This arrangement contrasts perfectly with the bass heavy Pa Bryd y Deui Eto which tips a nod to the Super Furries. Closing track Lisa Lan is also notable for it’s bass lines which recall those of Pentangle’s Danny Thompson, carrying Lisa’s spellbinding vocals along with them before finally cutting them loose and allowing them to fade out into the ether. The perfect album for all those long, dark winter nights ahead of us. Highly recommended.


- Steven Burnett

This album is something of a curious gem – a collection of traditional Welsh songs (sung in entirely in Welsh) with a modern backing. The more traditional harmonium and harp and mesh effortlessly with xylophone, the occasional flourish of moody electronics, shifting bass lines and the atmospheric chiming and squawking of electric guitar. Weaving through it all is the soft and beguiling voice of Lisa Jen Brown.
Live, she cheerfully explains the premise of the songs but on the CD we are afforded no such helping hand. The enigmatic sleeve has only the minimum amount of information, all of which is useless if you don’t read Welsh. In practice this is less irksome than you might imagine, as if encourages you to loose yourself in the songs, which is easy and doing so is a pleasure.
One of the songs I was able to find a little more about is Yr Eneth Gadd Ei Gwrthod (in English: The Rejected Maiden). It’s the true story of the mysterious death of Jane Williams, a young woman of seemingly irreproachable character who was found dead in the river Dee in 1868. She was spurned by her lover and fell into a depression as you might expect but was found dead after her mood lifted and she was back on friendly terms with her beau.
The next track Llongau Caernarfon (The Ships of Caernarfon) is a much sadder song, which gets it’s beauty from its simple arrangement.
Things speed up for Gwydr Glas (Blue Glass) with it’s mesmeric harp line and the album closes with Lisa Lân, which is a fine summary of what the band are about. Over the course of seven and a half minutes it starts off delicately, gets positively rousing in a middle, before gently ebbing away like the tide at the end.
I have to confess I am almost completely ignorant of the young Welsh folk scene and so far my efforts to find out have met with limited success. However, it’s unlikely that 9Bach are typical of anything in particular because they dare to develop their own personality outside of any market in particular. In doing so, they have succeed spectacularly and have created an album of rare beauty.
Christopher

- Christopher

Some of the great delights of traditional songs are the often brutal or wildly emotional stories they tell, but here's a debut British folk album that is compelling even for those who can't understand a word of what is being sung. 9 Bach are a Welsh band who specialise in composing new arrangements for traditional Welsh folk songs, and succeed even without singer Lisa Jen Brown explaining what they are about. The band is special both because of her exquisite, clear vocals and the highly original arrangements. In part, the backing is gentle and easy-going, with her cool voice matched against harp and harmonium, as on the easygoing Llongau Caemarfon or the gentle singalong C'Weiriwch Fy Ngwely. Elsewhere, a rock lineup is added into the mix, with bass and guitar providing an unexpectedly edgy contrast to the acoustic playing. Brown clearly has the potential to match Scotland's Julie Fowlis as a British star who doesn't sing in English.
- Robin Denselow

This Brilliant young Welsh indie-folk band, led by Lisa Jen Brown's gorgeous vocals, take traditional songs and recast them on a spectral, haunting electric sound canvas - Unknown