Pillowfish Reviews and Interviews

Promo EP 2007 - review by Tim Carroll, FolkWords

Too often it's difficult for a second CD to exceed the calibre of the first, especially when the first was a landmark piece. No worries here, Pillowfish have come up with a small collection of brilliantly composed musical jewels on their latest EP, which in their words is only a 'stopgap' before their next CD. If this 'interim' offering is the starter I can't wait to get my hands on the main course.

Tom's inimitable voice and unique delivery once again catch your ear and hook your attention. As always, some people will have to work hard to get into the nuances of his technique but persevere it's worth every moment. 'Give Some Ground' is a fine song, which is full of unexpected twists and turns with some superb work from Helen. 'The Bastard Jigs' is a miscellany of lusciousness with a raft of subtle changes of direction eddying around below the surface. 'Morning' is another quirky song with a maze of lyrics, which include Helen's enchanting voice. It's the type of musical story we expect form Pillowfish. How about a line such as: "Like a warm wide river, home to all dark muddy things with far too many legs" - exquisite.

Incidentally, I love the EP cover photo. They're playing down my way in November at Stortfolk - the date's already in the diary. Miss the performance? Not me.

Tim Carroll

<<<top

COMMON KNOWLEDGE - Pillowfish (Pillowfish PFCD. 0601) - review by David Kidman, Netrhythms.co.uk

Pillowfish is a York-based duo fast becoming familiar faces at the region's folk clubs and acoustic venues. It was in the inauspicious setting of the fRoots internet noticeboard, apparently, that Tom Drinkwater (bouzouki, guitar), veteran of countless folkyish groups in NZ and the US, met Helen Bell (violin, viola), veteran of several young-folky groups in England including Niblik and the award-finalists Ola; and their musical partnership has never looked back since!

They both delight in - indeed, share - eclectic (if obscure) predilections and preoccupations, and their musical personalities also turn out to be highly complementary. However, I'm not sure that the bare biographical preamble tells you much about their actual music, which isn't at all easy to describe.

Perhaps the first thing you notice about Pillowfish is the duo's immediate, and markedly individual, presence, for nobody else on the current scene sounds quite like them. Their special musical identity is due as much to their confident and upfront playing style as to Tom's quite upfront vocal presence and delivery (his distinctively astringent, precise singing voice may polarise listeners' reactions as it's perhaps a bit of an acquired taste).

Instrumentally Pillowfish are very assured indeed, and know intuitively how to manage the texture between the contrasting timbres, each of which is rich and appealing (Tom's "zouk" is a 10-string model by the way, and has a wonderfully full, ringing tone); the duo balance works really well as backdrop for Tom's singing voice while also giving a satisfying blend on the two instrumental tracks (sets of rather intriguing tunes composed by Helen, invariably using irregular metres and notable for not going where the listener might expect!).

I just love the way Helen weaves her delicate yet supportive melodic counterpoint round Tom's busy and deft zouk playing, always ingeniously configured to make the best out of the musical argument. And that applies equally to the songs; these (comprising nine of the eleven tracks) are all self-penned: seven by Tom (one with words by Sadie Curlett) and the remaining two by Helen.

Tom's songs especially can seem tumblingly wordy, a mite thorny, even slightly inaccessible at first acquaintance, and certainly cryptic; after all, they're the creations of a defiantly bohemian wordsmith who feels no need to compromise his manifesto or artistic vision. I don't have the space to discuss their content here, but suffice to say they're the product of a lively and intelligent mind with deep and sensible convictions, wide interests and keen observational skills; this complexity of thought, coupled with the effect of the sometimes mildly disorientating uneven bar-lengths and unusual melodic motifs, means that the listener needs to concentrate - not at all a bad thing I say! This may explain the curious impression (an observation rather than a criticism!) that Tom's songs often seem to last longer (and yield less immediate pleasure) in live performance than listening to them on disc - where even after many playthroughs I'm still finding new and rewarding insights.

The only song that jars on repeated play is Move Your Money, whose scratchy-jokey setting rather overplays - and detracts from - the thrust of the lyric. As for musical and folk-cultural reference points, well: think the more whimsical side of Dylan, Incredible String Band, Roy Harper, Al Stewart, Dave Moss, acoustic Jethro Tull, the late-60s wyrd-folk scene). Pillowfish are amazing: eclectic, very individual and very talented - and I assure you, they're not going away!

David Kidman

<<<top

Review from fatea-records.co.uk

I was once told that things everyone knows are often wrong, Drake defeated the Amarda, Cook discovered Australia, the Earth has one moon. Common Knowledge is a dangerous thing that often supports our perceptions rather than the facts.

It's common knowledge, for example that the English don't value their folk music as much as the Scots, Welsh and Irish. It's bollocks of course, there is a real passion amongst the English for their folk music. Not just the forms that it's evolved into, but also contemporary versions of the genre that has become known as traditional folk. A phrase that seems to cover the native music of everywhere from Sidmouth to Sunderland, Barrow-In-Furness to Dover.

Pillowfish, Tom Drinkwater and Helen Bell, value their traditional music, even if Tom is a Kiwi by birth. He also got to the music via the Gaelic styles, something which allows him to draw a wide range of influence. Bell's violin and viola come from a solid English tradition, the blend is exquisite, like a tea taken only from the top tip of the bush.
The album flips between tunes and songs with the emphasis on the latter. It does so with many a nod to the modern world. "Addiction" for example concentrates on some interesting addictions, including caffeine and cocaine. There can't be many songs that namecheck Sherlock Holmes, Jimmy Page and Kurt Cobain in but a single line.

In many ways "Addiction" is the heart of "Common Knowledge" the ideas are very twenty first centuary, they draw on a heritage that gives them their history and setting. It can do this because somethings are eternal, love, addiction, villains, the struggle of the common man. Locations and weapons may have changed, but wars are still fought and teenagers have sex.

"Common Knowledge" is a collection of songs that are well thought out and well performed. It does build on perceptions, but that means that your perception is still that music in a vehicle for thoughts as well as emotion.
The more you listen to the album, the more you understand the contribution that Helen's contribution makes to the whole. It gives the album an intimacy that warms you to it. It's a small venue sound, but one with an open fire and friends listening respectfully. "Common Knowledge" is an album that makes you think and that alone makes it worthwhile.

fatea-records.co.uk

<<<top

Mundy-Turner
Ha'Penny Tweedle
Gypsy GYPC016

Pillowfish
Common Knowledge
Pillowfish PFCD0601

Duos. A folk mainstay. More sound than a solo, cheap enough to run without splitting the cash five ways. Mundy-Turner were Australia based before moving back to Jays native Derbyshire. With new child in the pram they have returned to Kath's native Australia in 2007. Shame, they are thoroughly solid unit in a roots based songwriter stylee. The twelve tracks here were recorded by our own Phil Snell, and it has to be said he has captured the sound to perfection. There is variety in the music, often a failing of writer based music, and Kath's fiddle shines out. There's even a bonus track, a re-recording of former album title track 'Naked', which is as good a touchstone to the style as any. Well, they will return to tour, so till then buy this.

Pillowfish share some elements; female violin player, male guitarist songwriter, the difference being in the way it hangs together. Tom writes more intricate songs, lyrically, or perhaps the word is less direct (which is two words) and Helen plays more viola than its higher counterpart, thus increasing the depth of sound. There's a lot more of interweaving of tunes with songs and the use of counter melody and chordal structure is far more challenging. Which is not to say that this is hard listening, just the opposite, it's chocolate for the ears, with a crusty port chaser. All success to this duo, this is quality stuff with real promise for the future.

Tim Moon

<<<top

What a treat! Listen to ‘Common Knowledge’ by Pillowfish - but listen to multiple replays before you decide and that’s the crucial point. There are many levels to this band. The first listen gives you some superb music and perceptive lyrics then you start to go deeper and I think that’s what Tom Drinkwater (vocals, bouzouki, guitar) and Helen Bell (viola, violin) are all about - multiple layers of talent. Believe me it’s worth chasing them through the multifaceted levels of their inventive and lyrically sparkling songs.

‘Seven Stolen Stars’ is the perfect opener – it takes you straight into their style and it’s one of their most readily accessible songs. There’s something rather evocative of Robin Williamson crossed with Tim Booth about Tom’s voice, it has an other-worldly quality that’s hard to pin down. It’s slightly nasal quality combined with its sharpness gives the lyrics their unique edge. It’s a perfect fit with their song structures, which are rarely predictable. It could jar with some people but that’s their problem not Tom’s. Add Helen’s complex musical dexterity and incredibly sensitive touch and you’re breaking into ‘Common Knowledge’.

My supreme favourite is ‘The Revolution will be in Colour’ there’s a beautiful bite to the inventive, incisive lyrics. The line: ‘Everyone knows that her stockings are blue but her lips they are red and her politics too’ is pure pleasure. Again, Tom and Helen combine to deliver their distinct magic. I can see the complicated construction of their songs making some listeners feel they are being asked to work just too hard. ‘Addiction’ is one of these ‘Move Your Money’ is another. The answer is persevere - it will be worth it.

There are two instrumentals on the CD - ‘The First Bonfire/Pillowfish’, and ‘Hunting the Off Licence/ Trip to Heligoland’. Both of these also deserve more than one listen. Beautifully composed tunes that you feel could be in your head for the rest of the day. Helen and Tom’s intricate musicianship traces permanent lines in your mind. Then again, they are as hard to pin down as clouds in the breeze.

The final gem in this musical box of delights is ‘Fingerprints and Smudges’. It’s one of those ‘storytelling’ songs. It’s like a book you can’t put down because you’re desperate to find out what happens yet when it’s finished you want to go back and reread the best bits – yep that’s what happens here. It’s a long song (6.25) so prepare to lose some time as you listen again and again. Tom’s vocal makes it come alive. I can’t imagine many people delivering it so well.

Unique is a much-abused word, so is individual – in this case they are both spot on to describe Pillowfish. They’re never going to be in-car entertainment. (It would doubtless horrify them if I said they were.) But Tom and Helen have a unique musical presence that’s worth digging into – it may take some perseverance but you’ll love what you find.

Tim Carroll

<<<top

There is something tantalisingly eccentric and quirky about this duo. Common Knowledge almost irritated on the first listen, but at the same time I was drawn back to try to unravel the sound and work out what it was all about. Tom Drinkwater's voice is certainly an acquired taste. He's originally from New Zealand, but has spent time in the USA and England -- over the years, he has spent a lot of time singing Scottish and Irish songs. His voice draws on all these influences, meaning that in fragments it is familiar, but as a whole it is unique. It's not just the sound of his voice that's distinctive either; it's the syllables that he accentuates -- mostly, not the ones that you would expect. Drinkwater contributes solid guitar and bouzouki accompaniment and the duo is rounded off with Helen Bell's exquisite violin and viola. This is the interesting juxtaposition that Pillowfish offer -- Tom Drinkwater's ragged vocals set against Helen Bell's elegant and fluid string work. It's a paradox that produces an interesting result!

Common Knowledge includes a couple of original instrumental compositions, showcasing the duo's considerable musical virtuosity, without the distraction of that voice! "The First Bonfire / Pilowfish" is a sprightly number featuring rhythmic interplay between Drinkwater's bouzouki and Bell's violin, whilst "Hunting the Off-Licence / Trip to Heligoland" is a more elegant and stately-sounding offering.

Drinkwater's traditional leanings are well-mined in "The World To Mend," an driving, energetic piece with some ferocious bouzouki and a stunning violin interlude from Bell. This is followed by the tender ballad "Cruel Sea". Both of these tracks show the potential that can be realised by this talented duo, effortlessly blending the traditional with the contemporary and yielding pleasing results.

"Addiction" has a deliciously dark and foreboding undercurrent, obliquely considering the gamut of addictions from coffee to much stronger substances; "addiction, affliction, sometimes it's even legal." Drinkwater then takes a well-aimed shot at globalisation in "Move Your Money," pointing out how we can freely move our money round the world but don't necessarily get the same welcome when we turn up in person; "if your passport fits the reader, you can visit for a breather, only if you don't stay to long, don't get a job or sing a song." Both of these tracks are lyrically incisive but there is a brashness about them that I didn't enjoy as much as the traditionally influenced material.

Pillowfish won't be to the liking of everybody -- well, maybe not immediately -- but persevere and dig a little deeper, and there are elements that will reward the patient listener!

Mike Wilson

<<<top