Isn’t it lovely when you find a new favourite artist by accident? I stumbled on Pictureframers Duo at the Lassington Oak Morris weekend in July. I was instantly taken in by their vocal harmonies and poignant lyrics, so when their debut album launch tour came around this autumn I quickly snagged a ticket for their very-almost-sold-out gig at the Folk of Gloucester.
Having now seen Grounded performed live in its entirety, and then listened to it on repeat for a week, I thought I’d share my thoughts with Tradfolk.
Pictureframers Duo comprises Chez Dunford (accordion, banjo, vocals, shaky egg) and Viv Sherman (guitar, melodeon and vocals). They describe themselves as an unlikely duo separated by a generation, but there’s something very familial and natural in their rapport. Viv has encouraged Chez’s musical explorations since she was small, and his pride and affection for his young(er) apprentice shines through in their live performances. Their vocal combination is also particularly lovely. Viv has a warm, well worn voice that would feel familiar in any folk club, while Chez brings a complimentary brightness and energy, annunciating consonants and clipping words in a way that feels both playful and decisive.
The album opens with Roll Me Over, a lament to the daily grind and plea to run away to the seaside, that instantly places me on Sidmouth seafront. The rolling 6/8 rhythm along with waves of accordion crescendos add to both the maritime feel and the sense of urgency in Viv’s voice.
The unembellished guitar and simple percussion (a shaky egg made incredibly serious) hold space for the vocals to tell this sad and relatable story.
If the album had a first single, I feel like it would be Lovely Afternoon, which is currently soothing me while I watch the US election results unfold. Viv’s gentle picked guitar accompanies Chez’s gorgeous, uplifting voice as she urges us to brave the storm, get our coats and dance in the rain. She sings that she wants to put a smile on my face, and she does.
The eponymous character in Maleye describes someone who builds their own confidence by chipping away at yours. The unembellished guitar and simple percussion (a shaky egg made incredibly serious) hold space for the vocals to tell this sad and relatable story.
Two cover tracks appear only on the physical CD and aren’t available digitally. The first, Kate Rusby’s The Sleepless Sailor, while a very pretty song performed very prettily, almost feels out of place in its gentleness compared to the passion of the duo’s self penned tracks. The transition to Chris Wood’s Elizabeth Clare, though, is lovely and the tune lends itself beautifully to the instruments.
The second, Robb Johnson’s The Leaves On Every Tree, is worth getting a physical copy of the CD alone. It tells the story of 18th century Forest of Dean folk hero Warren James, of whom there’s a mural in my local pub. James, a free miner, was transported to Tasmania for leading riots against the enclosure of parts of the Forest of Dean due to the demand for naval timber, which prevented foresters from gathering firewood. Foresters had to fight again to keep the forest from privatisation in 2014, so James’ story is still as relevant here as ever.
In Sabrina, Chez connects to her local goddess, guardian of the River Severn. Initially the wordplay on Severn/seven to tell of Sabrina’s life lessons felt a bit uncomfortable (perhaps because I’ve spent my life saying “No not seven, Severrrrrrn!”). I soon lent into it though, buoyed along by the messages of positivity (have fun and be kind) and relating to the struggle of being pulled towards both banks of the river.
In Old Time Songs, Viv manages to find humour in the bleakness of being a musician during lockdown. The jaunty accordion and strummed guitar accompaniment add a sense of optimism as the duo look towards a time when they can get together, play and sing, and stumble home from the pub. This is then contrasted by the beautiful and melancholy Viv’s Tune which feels like a french waltz, despite being English and in 4/4. When I asked my nine year old what he thought it was about, he said ‘a cat and a bird hiding from the rain’.
Don’t Turn Round must surely be the second single. The duo is joined by Megan Brooks on fiddle, adding a soaring counter-melody to this story of perseverance, drawing on Captain Tom’s garden laps and five year old Daisy Cooper’s 52 ascents of Pendle Hill. Like Lovely Afternoon, it’s also a message of support and encouragement to the listener.
It would make sense to end with The Parting Glass [Roud 3008], but the cheeky pair slide it in as the penultimate track. It’s a lovely simple but heartfelt rendition. They then actually finish with their own Rush, again joined by Megan on fiddle, playing beautiful slow slides. The message of this one is simple – slow down. It’s a nice circle back to the themes of the opening track – the hustle and daily grind is not what it’s about.
Overall this is a beautiful debut that I’ve found something new to love every time I’ve heard it. What strikes me is how so many of the songs feel written to make the listener feel a little better, and find some courage and optimism. I think we all need that today.
Grounded is out now, available from the Pictureframer Duo’s Bandcamp on CD and digital.
