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 | | Reviews | |  | | Selected media snippets for 'The Unseen Hours'
"Malinky in most excellent form"
Penguin Eggs, Canada
"Not just back on their feet, but dancing...Few other bands are able to deliver so apparently effortlessly...an album which won't disappoint"
Songlines
"The new incarnation of Malinky is alive and doing very, very well"
Sing Out!
"very exciting"
The Living Tradition
"Do not let the Unseen Hours go unheard -- you will be the loser"
Rambles.net
"Scottish tunes and songs at their best"
LiveIreland.com | | | | Sing Out! The Folk Song Magazine
Summer 2006 by Chris Nickson
When lauded Scots band Malinky lost two of their members, including the superb singer and songwriter Karine Polwart, many wondered how, or even if, they'd survive. A little time has passed, and they've returned, sporting a pair of new faces, singer/cellist Fiona Hunter and multi-instrumentalist Ewan MacPherson. And in truth, they don't seem to have suffered at all. Hunter is a fine, expressive vocalist who brings a real warmth to the group, who show they're on form by immediately diving into an epic "Edom O Gordon," followed by "Clerk Saunders" and the Border ballad "Hughie the Graham," quite a chunk as an opening salvo. But they do it proud. The opener, along with "The Bonnie Banks O Fordie" (possibly the best cut here) have that slight Balkans feel that's one of their trademarks, while the others offer an understated power--indeed, there's a resignation about "Clerk Saunders" that brings a new shine to an old chestnut. They've certainly kept their instrumental chops, and flaunt them on "The Scotia Set" and "Inertia Reels" (which move in sprightly fashion). Canada's David Francey guests to good effect on his own "Flowers of Saskatchewan, proving again that he's a songwriter of startling brilliance. The original "The Sun's Cousin" doesn't fare quite as well as the rest of the material, but they close with a wistful "My Ain Countrie" that marks a loving end to a telling album. The new incarnation of Malinky is alive and doing very, very well.--CN
| | | | SONGLINES The World Music Magazine
May 2006 by Andy Jurgis
The Unseen Hours
****
Not just back on their feet, but dancing
This is an important album for the Scottish-based band Malinky, given that
it is released in the wake of two stalwart members - award-winning singer
Karine Polwart and box player Leo McCann - leaving the band last year. On
the evidence shown here however, Malinky are still in fine fettle and
confidently moving on. Remaining founder members Steve Byrne and Mark Dunlop
both have very good voices, as well as a range of instrumental skills, while
lyrical fiddle player Jon Bews had already made a considerable impact on the
band. Newcomers Fiona Hunter (vocals and cello) and Ewan MacPherson
(mandolin and guitar) have both settled into the band amazingly effectively.
Malinky are one of the liveliest interpreters of the Scottish tradition and
this album will underpin their reputation for inspired singing and
contemporary instrumental arrangements. Few other bands are able to deliver
so apparently effortlessly. Although the album revolves around nine songs,
there are three instrumental sets too, bringing further variety - not least
through Dunlop's bodhrán and Hunter's cello, both of which add considerable
resonance. Byrne's voice turns 'Flowers of Saskatchewan', a song by Canadian
singer-songwriter David Francey, into a highlight. Perhaps the most
characteristic song of all though is the traditional ballad 'The Bonnie
Banks o Fordie', originally combined with a Swedish tune, in which Hunter's
pure vocals are excitingly complemented by the upbeat instrumentation. All
in all it's an album which won't disappoint.
| | | | PENGUIN EGGS, Canada, Spring 2006
Canada's leading folk and roots magazine
Boasting a fresh new line-up since 2002's 3 Ravens; The Unseen Hours finds Scotland's Malinky in most excellent form. Acoustic-based traditional or traditionally-influenced songs and tunes rule the day. The singing is great; alternating between the lead vocals of Steve Byrne, Mark Dunlop and new member Fiona Hunter, all of whom have distinctive and memorable voices. The instrumentals are skillfully played and brilliantly arranged, featuring a heady mix of bouzouki, guitar, whistles, bodhrán, fiddle, cello, mandolin and tenor banjo. Contemporary rhythms creep in here and there but never overwhelm the piece or spoil the trad feel of the album. Tastefulness and restraint are in evidence throughout. Highlights include a suitably spooky Edom O Gordon, a rousing Nova Scotia set including a Donald Angus Beaton tune, and a Scandinavian influenced version of the murder ballad The Bonnie Banks O Fordie set to a new tune.
Recommended.
By Tim Readman
| | | | Rambles.net review of The Unseen Hours
31 December 2005
Malinky is surely one of the best bands on the scene at present, a claim driven home by the newest release, The Unseen Hours.
"Clerk Saunders" is one of my favourite tracks on offer. It opens with a beautiful instrumental sequence to give way to new addition to the band for 2005 -- Fiona Hunter. It is a traditional ballad of love, conflict and loss. From the beautiful voice of Fiona, they move with another traditional piece, "Hughie the Graham," and the stronger vocal style of Steve Byrne.
To hear the band's instrumental prowess you should give a listen to "The Scotia Set," comprising of a march, a strathspey and a couple of reels. "John O'Dwyer of the Glen" is an English translation of an Irish song they first heard sung by Len Graham.
One of the contemporary songs on offer comes from Canadian writer David Francey. The title is "Flowers of Saskatchewan." It recalls an episode of World War II and is delivered with quiet power by Byrne. "The Sun's Cousin" brings together a Croatian folktale and a great band to give us a six-minute plus yarn with some spooky overtones.
The album ends with the lovely "My Ain Countrie," with a marvelous rendition from Fiona again.
This album is just the right mix of old and new to please the discerning listener. The familiar will reassure and the new material will open your eyes, ears and heart to the great songs still being written, which give folk music its heart and soul. The accompanying booklet is full of information on the songs along with the lyrics.
Do not let the Unseen Hours go unheard -- you will be the loser.
by Nicky Rossiter
Rambles.NET
http://www.rambles.net/malinky_unseen05.html
| | | | The Herald (Glasgow) review by Rob Adams
10 Dec 2005
Our new CD reviewed by the Glasgow Herald newspaper
By ROB ADAMS
Scots/Irish quintet Malinky have established themselves on the international folk scene with their dedication to a largely song-based repertoire. Even losing the estimable Karine Polwart as lead singer has not swayed their determination to keep ballads, both centuries old and more recently written at their music’s forefront.
This first album with their new line-up - multi-instrumentalist Ewan MacPherson arrived with singer/cellist Fiona Hunter as Polwart and box-player Leo McCann departed - finds them revelling in darkly atmospheric tales, sunnier intervals and skilful instrumental arrangements.
Hunter’s confident Scots singing on the majority of tracks, Steve Byrne’s soft Angus tones and bodhrán player Mark Dunlop’s likeably forthright delivery present a variety of vocal approaches on a collection that should enhance the group’s reputation.
| | | | The Living Tradition
issue 66, Jan 2006
MALINKY the unseen hours
Greentrax CDTRAX276
So… you thought Malinky would disintegrate when Karine Polwart left and that they'd all fall out? So did I. Happily, we're all wrong. Malinky and Karine have stayed friends, Leo McCann has also left and the band has shrunk to a three-piece, re-grouped and expanded up to a five-piece. Confused?
New members Fiona Hunter and Ewan MacPherson add breadth and depth to Malinky's vocal artillery and Ewan brings in an Irish influence[sic] … in his own singing style at least. On ‘unseen hours, the tone is darker and the material more traditional in origin, than on the first two Malinky CDs, but the band is still very recognisable. Fiona's singing is no way that of a Polwart-clone, but there isn't a huge discontinuity. The tunes - which as usual are around half of the album - are still brisk, varied and as tight as the proverbial canard's derriere. What has changed is that vocals are shared around more [sic], now that Malinky has such an army of strong voices. This has been commented on negatively by one reviewer, who felt that it led to a lack of coherence. I disagree and I hope that Malinky will keep this up – it's almost like getting several bands for the price of one and opens up the scope of what the band can tackle considerably. The distinctiveness of the instrumental sound glues it all together tightly.
On this CD, you'll find new versions of some well-know songs such as Clerk Saunders, King Orfeo and Bonnie Banks O Fordie … and even a signing out with the old chestnut My Ain Countrie - very splendid. It's nice to hear this generation tackle some of the more hackneyed songs (Malinky also had a pop at Hills of Ardmorn on their debut CD). The reason these songs became hackneyed was that they were a b?**dy good sing … and they still are. Congrats. to Malinky for surviving what many of us thought would be a death-blow and emerging unbloodied, unbowed, very exciting and very recognisable.
Alan Murray | | | | THE SCOTSMAN
26 January 2005
MALINKY ****
GLASGOW ROYAL CONCERT HALL
FOR the incredibly talented Malinky, the loss of Karine Polwart and Leo McCann is a huge blow, but they were on top form at the Royal Concert Hall last night for the original line-up’s last ever gig together [sic]. After an impressive support spot from Tacan, a young six-piece catering in warm jigs and reels, melancholy traditional songs and endearingly nervy
banter, the headliners took the stage to thunderous applause. The fivesome broke into a haunting lament to kick-start a set of infectious tunes fuelled by intricate fiddle lines, pulsing rhythms, playful flutes and fiery acoustic guitars. After the exhilarating first half, the replacements were revealed as Fiona Hunter and Ewan MacPherson, who then took their places behind microphones for a sneak preview of the new Malinky, with added guitars, cello and vocals, and they fitted in immediately. The first part of their story may be over but a new exciting chapter has definitely begun. | | | | SUNDAY HERALD
30 January 2005
Old hands and young blood keep the connection alive
By Sue Wilson
NOT only was it a cracking performance, but Malinky’s gig at Celtic Connections 2005 also marked a few milestones for the band. Now firmly established among Scotland’s top traditional groups, they first emerged as winners in the inaugural Danny Kyle Awards, awarded to the best acts on Celtic Connections’ Open Stage, back in 1999. Six years, two excellent albums, and a heap of critical acclaim later, two-fifths of their membership are about to head for pastures new.
Singer, songwriter and guitarist Karine Polwart is off to pursue a solo career, on the back of her debut album, Faultlines, released last year – which has earned her a cool five nominations in next month’s BBC Radio 2 Folk Awards. Button-box and whistle player Leo McCann, meanwhile, is reverting to a day job, having just become a dad.
Their valedictory Celtic Connections show also introduced a sell-out crowd to their replacements: singer and cellist Fiona Hunter, and Ewan MacPherson on mandolin and guitar.
The band’s original trump-card was unquestionably Polwart’s huge talent, and she was in typically spellbinding voice as she sang through her greatest hits. These included Thaney, Follow The Heron and the heartbreaking Whaur Dae Ye Lie, from her own pen (the last having originally clinched that springboard Open Stage triumph), alongside traditional classics such as The Bonny Lass O’ Fyvie.
Over the years, though, Polwart’s remaining colleagues – Steve Byrne (vocals, guitar, bouzouki), Jon Bews (fiddle) and Mark Dunlop (bodhran, whistles) – have expanded their roles, substantially boosting Malinky’s power. It’s been for some time now that Byrne has merited joint-billing with Polwart as both a singer and songwriter, and he’s also emerged as a gifted instrumentalist, whether plucking out a melody or slashing jagged, razor-sharp grooves from his strings. Dunlop has added vocals to his credits, here imbuing The Newry Highwayman with a potent blend of defiance and melancholy.
Malinky are thus well placed to weather the transition of personnel, but it must still have been a nerve-wracking moment for Hunter when she stepped up and into Polwart’s shoes. You’d hardly have known it, though, as her lingeringly paced rendition of Clark Saunders offered ample opportunity to admire her voice’s arresting balance of raw edged throatiness and cool lyrical clarity. With the arrival of her and MacPherson, there are also interesting changes afoot in the band’s instrumental spectrum. The cello’s dark-hued sweetness added new layers of harmonic colour, while MacPherson is already engaged in some very tasty finger-picking duels with Byrne. And the one-off Malinky “supergroup” that closed the show, with all seven musicians onstage, was a memorable bonus treat. | | |
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