Lau have been voted best group for three years running (2008-2010) in the BBC Folk Awards and won again in 2013. Such high profile recognition is, I'm sure, highly satisfying for the group but is also a double-edged sword given that these awards tend to favour relatively conservative artists.
The Radio 2 prizes usually go to the safe and well established strand of the folk genre, tending to overlook the more esoteric, weird (or should that be 'wyrd') artists like the Fence Collective, Nalle, Alastair Roberts or Trembling Bells.
As with most of these acts, Lau are based north of the border although Martin Green on piano and accordion is originally from East Anglia. The other two members are Kris Drever (guitar & vocals) and Aidan O'Rourke (fiddle) from the Orkneys and Oban respectively. They take their name from the Orcadian word meaning 'natural light'. All three are active in other projects but describe Lau as the 'motherband'.
On their fourth studio album they again prove themselves to be highly talented musicians with a deep appreciation of roots music. At the same time, by choosing to work with a U.S. producer, they demonstrate a desire to move beyond the narrow constraints of the 'Scottish folk' label.
The fiddle and accordion instruments at the heart of Lau's sound establish the music firmly within the Celtic tradition yet the tunes also gently guide us into other sonic territories.
Tucker Martine has previously worked with prestigious artists like Sufjan Stevens, Gillian Welch, The Decemberists and R.E.M. His deft production helps give the recording a warmth and variety that draws from classical and ambient moods.
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There are also a few subtle electronica effects and I think a few bolder strokes would have made the album even stronger. A brief thirty second fragment (Missing Pieces) suggests they toyed with the idea of adding some more experimental touches.
The opening track, Saint Monday, introduces a nostalgic tone hinting at regret for a pre-digital age with lyrics about a warehouse full of broken down machinery.
The mournful quality of Drever's voice can also be heard on Throwing Pennies, Beer Engineer and The Bird That Winds The Spring. The latter is the most straightforward folk tune and quite simply a beautiful piece of music through its lilting melody and the finely judged melancholy of the vocals.
Far From Portland is an eight minute tune dedicated to the producer's home town that almost, but not quite, takes up the strains of Jerusalem. This and the other four instrumentals have a rich, organic quality that one imagines were born of improvised playing. Torsa is the finest of these being built around a majestic reel yet having the grace of a classical chamber piece.
All in all, a fine album that will maintain their high standing with the Radio 2 audience while proving that easy listening doesn't always have to be boring.
Lau's website
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