The Mediaeval
Baebes - The Huntress (Queen Of
Sheeba) / Norwich Cathedral December
8th 2012
A double album is a significant
undertaking by even the most established of bands; for the Mediaeval Baebes to
have stretched themselves to 17 songs across two discs on this, their seventh
studio release, stands as a bold assertion that they have found their ground
and are standing proud on it.
Given their recognised affiliation
with the music of olde England it’s surprising to find that all bar two tracks
are self-penned. The six piece are predictably in fine voice throughout, both
individually and as an ensemble; but although there are nods towards sixteenth
century choral, and early English and Latin verses make an appearance, it’s
really a kind of ambient folk that dominates the record. There are few
concessions to scholarly period authenticity and the gentle combination of styles married with a crystal clear production adds up to a surprisingly
modern ‘new age’ sound.
That said, the high points come
with the more traditional ‘Veni Veni Bella’, ‘Dianae’ and ‘Dies Irae’, (the
latter pair being based lyrically on ‘Benidiktbeuern’, the original medieval
text which inspired Orff’s ‘Carmina Burana’); while familiar folk ballads ‘Cruel
Sister’ and ‘She Moves Through the Fayre’ fit less well. It may pay them not to
stray too far from the original path.
Presented live within the imposing
cream limestone walls of Norwich’s twelfth century cathedral, under the gaze of
its thousand or more ornate ceiling bosses, the Baebes are an altogether
feistier proposition. With an injection of visceral energy to match their
unquestioned vocal prowess the set takes on a (perhaps not entirely
appropriate) pagan air; and courtesy of dances, hand-claps, sticks and wild
instrumentation the tranquillity of their recorded sound becomes more Celtic,
moving ever closer to the bucolic menace of The Wicker Man.
They’re rapturously received even
though it isn’t a perfect performance. First night nerves make the opening half
a tentative affair, spoken word introductions being a particular casualty; but
post-interval and with a collective costume change from virginal white to
sombre black they are cohesive and focussed, and work their already committed
audience with consummate skill. The Dean and Chapter will have been gratified
that the encore embraced religious themes, although this close to Christmas a
carol or two might not have gone amiss either.
Neil B.
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