Mishaped Pearls
Album: Thamesis
Label: Proper
Tracks: 10
Website: http://www.mishapedpearls.org

Formed in 2009 from a collaboration between multi-instrumentalist Ged Flood and multi-lingual soprano Manuela Schutte, Mishaped Pearl's third release sees the London seven piece delivering another diverse collection of material, from pop to folk to classical - all under the expert guidance of producer Gerry Diver.

Whilst their previous record, 'Le Put en Velay' took its name from the French town, the 'Thamesis' title of this record makes it clear that the inspiration for the title track and for several of the songs on the album is based around water and rivers and the ever flowing nature of their existence. From the very opening notes of 'Old Father Thames' which in turn was inspired by Ged's lock keeping experiences, there's a fluidity and fragility about the compositions and the arrangements. There's an almost ethereal mood to the album, yet there's also a slightly threatening feel of vague threat and portent

German born Manuela's vocals have an uncannily classic English tone which lend themselves perfectly to 'Jimmy' - the first of several songs based on traditional English song, his one taking inspiration from the Irish folk song song 'Polly Vaughn' with its backing of various strings giving it a medieval ballad ambience. Of the other traditional songs, the seventeenth century ballad 'Three Ravens' is a delicate reading, the opening and closing sensitivity of the instrumentation being matched by the delicacy of Manuela's vocal while the middle section builds into a wash of sound. Their take on the English folk ballad 'Six Dukes Went A Fishing', a tale of the discovery of the body of the drowned Duke Of Grantham comes over as a more modern poppy version.

With Ged Flood's original compositions taking up the other half of the record, they sit quite naturally next to the traditional material and provide a perfect compliment. Again, these songs reflect the percussive nature of the playing with Ged Flood and Gerry Diver's assorted string instruments directing the arrangements. Both 'Doves' and 'Tamesis' begin with sparse openings and build into dramatic, and particularly in the case of 'Tamesis', dark and brooding pieces.

Pride of place though goes to another cover; Ralph McTell's 'First And Last Woman'. While the album may take a few listens to start to take hold, this is one of those songs which grabs a hold immediately. It's a mesmerising and hypnotic way to end the album with a repetitive musical motif. Accompanied by injections of birdsong, it typifies the grace and elegance of 'Thamesis'. Stick with it - it's a rewarding experience which builds and grows in stature with each play and gives up so much more with each listen.

Mike Ainscoe