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ALISON COTTON

Alison Cotton

Engelchen

    Engelchen literally translates as ‘little angels’ What’s more, for many in the febrile, dangerous era of the 1930s in Nazi-occupied Europe, as they wrote letters to arrange their paths out of danger as refugees, these were Ida and Louise Cook. Ida and Louise spent much of their early years in Sunderland, and in adulthood lived in a suburb of London with their parents. They were enormous fans of opera and led relatively quiet and unfussy lives. Yet secretly these resourceful and eccentric women were using their musical obsessions as a means to help dozens of refugees escape with their lives. Their secretive heroics now almost beggar belief, and when Alison Cotton, herself from Sunderland, first discovered their story, she couldn’t understand why it wasn’t more widely known. Furthermore, she was inspired by their courage, fortitude and derring-do to compose Engelchen, a musical tribute to the duo’s lives and work, now a full-length release by Rocket Recordings.

    Throughout, this story is relayed by Alison, whether acapella or by means of richly emotive string arrangements, with a deftness of touch, sensitivity and intensity that matches the feverish nature of the experiences and the unforgiving environs in which they took place. Engelchen is a transporting work whose spirit is situated in a very specific time and place, Nonetheless, the story of Ida and Louise Cook is more than merely an inspirational tribute to two mavericks who beat the odds in an unforgettable feat of altruism. It’s a celebration of the human spirit, one that reflects a universality in its narrative which transcends the boundaries of history and impacts very urgently on our daily lives. Whatever attempts may be made to tell this story, it’s hard to imagine one that resonates deeper than Engelchen.

    STAFF COMMENTS

    Barry says: A fittingly haunting, but beautifully presented new LP from Alison Cotton on the always-superb Rocket Recordings. Intensely cinematic instrumentals, shadowy operatic phrasing and swooning, wistful melancholy abound. A warming tribute, and a typically skilled and beautifully emotive selection from Cotton. Lovely.

    TRACK LISTING

    01. We Were Smuggling People’s Lives
    02. The Gramophone Circle Parties
    03. Engelchen
    04. The Letter Burning
    05. Crépuscul
    06. Dolphin Square
    07. Engelchen Now

    Alison Cotton

    The Portrait You Painted Of Me

      Alison Cotton presents The Portrait You Painted of Me, a new 6-track album – her first for Rocket Recordings (released on Feeding Tube in the USA). Like Alison’s previous solo albums, the touchstones of her immersive sound are viola, harmonium and voice, merged together to create a rich suite of songs. ‘Mumurations Over the Moor’ is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of North East England (from where she hails). ‘The Last Wooden Ship’ evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley’s Sirens urging listeners to a rocky demise. ‘I Buried the Candlesticks’ has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. ‘That Tunnel Underground Seemed Neverending’ is a musical vision of Northumberland’s mining culture at the dawn of the 20th Century - labyrinthine, subterranean, dimmer than night. ‘Violet May’, the only traditional “song” on the album, was inspired by a trip to Vita Sackville-West’s Sissinghurst Castle.

      Its plot deals with a reclusive artist who has forsaken all else for a life of solitary creation in her tower. The structure and sound reminiscent of a post-modern approach to lyrical concerns dealt with by folk singers of the British ‘60s, but the actual arrangement is closer to something John Cale might have done with Nico on The Marble Index. The closing track, ‘17th November 1962’, inspired by nearly-forgotten memories of disaster with a fishing boat, a storm and an ill-fated rescue attempt. The song (and album) ends with what sounds like a forlorn foghorn cutting across waves of night with Alison’s voice again evoking the Sirens.

      As with its predecessors, The Portrait You Painted of Me was recorded at home in London, beautifully produced by Alison’s partner, Mark Nicholas, and it contains all the elements that result in the sombre, exquisite melancholy she creates. This is some serious and remarkable stuff.

      TRACK LISTING

      01. Murmurations Over The Moor
      02. The Last Wooden Ship
      03. I Buried The Candlesticks
      04. That Tunnel Underground Seemed Neverending
      05. Violet May
      06. 17th November 1962

      Alison Cotton

      Only Darkness Now - 2021 Reissue

        With gliding viola & choral forces, Only Darkness Now is a more alive, peopled landscape than its predecessor. Moods remain contemplative, concerned with vivid, historical netherworlds & torments – we see this in extended album centrepiece 'Behind the Spiderweb Gate' and in 'In Solitude I Will Fade Away'. However despite its title Only Darkness now has a brighter expanse:

        Cotton layers viola, chimes & Omnichord - an electrical ghost-like medieval drone, alongside percussion, harmonium, piano & voice. This is a confident record, lifting Shirt of Lace by medieval revivalist Dorothy Carter, from Celtic lament to cathedral like grandeur.

        Sounds like: Max Richter. Tony Conrad. The Unthanks. Laura Cannell.

        TRACK LISTING

        Behind The Spiderweb Gates
        In Solitude I Will Fade Away
        How My Heart Bled In Bleeding Heart Yard
        The Hill Was Hollow
        Shirt Of Lace

        Alison Cotton

        All Is Quiet At The Ancient Theatre - 2021 Reissue

          'All Is Quiet...' begins in cold droned echoes of Nico's 'Frozen Warnings' but Cotton laments vanishing English customs, performance & countryside. Viola, harmonium & recorders bring lost sounds – the deathly percussive march of 'A Tragedy In The Tithe Barn', ballad themes of departure in 'The Bells of St. Agnes'.

          Cotton's music searches a past of stillness & desolation but where Nico's is an icy tundra, Cotton's viola and choral layers hold earthy, distinctly English experimental resonances with early music modalities. It's mournful, yes, but with contemplative spaces of light & renewal.

          Sounds like: John Cale & Nico, Tony Conrad, Laura Cannell, Linda Perhacs

          TRACK LISTING

          All Is Quiet At The Ancient Theatre
          The Last Sense To Leave Us
          36 Dramatic Situations
          The Bells Of St Agnes
          A Tragedy In The Tithe Barn


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