Alyth McCormack
The contributions of Scotland's Alyth McCormack to the innovative 1994 release by The Colour of Memory, "The Old Man and the Sea," are recognizable in her debut solo recording "An Iomall," yet amplified by a focus on her sibilant yet insistent vocals, in Gaelic but for one track, and carefully complementary industrial accompaniments that would not sound out of place in one of Tom Waits' more experimental productions. A fine balance between tradition and novelty is maintained throughout, Jim Sutherland's hyperactive percussion meshing surprisingly well with Davey Trouton's staid piano to add both playfulness and dramatic power to these twelve songs. McCormack's vocal is a wonder, retaining its quavering beauty through a wide variety of moods and amplitudes.
The peculiar run-on phrasing of the vocal solo "Bothan," with every breath and fricative audible, suggests that we overhear McCormack's internal musings. On "A Fhleasgaich �ig," the most traditionally produced track, stern, rolling piano and scratchy fiddle counterpoint are dominated by McCormack's full-bore vocal, its trilling beauty if anything magnified by volume. On "Mar a tha," swinging, clattering, 6/8 percussion with almost random emphasis beats is in striking polyrhythmic tension with McCormack's common-time vocal, an effect at once disturbing and exciting. The recording ends with "Hi Hor�," upbeat rock-Celtic fusion with playful percussion.
Liner notes are Spartan, but lyrics in both Gaelic and English are available on McCormack's web site. But even without liner notes at all, "An Iomall" would be thrilling. - Jim Foley
Available from cdRoots
Audio (p)(c)2001 Alyth McCormack/Vertical Records, administered in the US by Compass, used with their kind permission.
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