In American folklore, particularly in Appalachia and the South, "little winters" are cold snaps that occur after spring has seemingly arrived. This natural phenomena provides the inspiration for the new album by Anna McLuckie.
This record showcases the musical prowess of Scottish singer, songwriter, and clarsach player Anna McLuckie. Dedicated to the city of Edinburgh, the record also finds its roots in Anna’s move from Manchester to London, which triggered a surprisingly deep homesickness for Scotland.
“Having left Scotland at seventeen it surprised me that a whole decade later I suddenly started to feel this loss of place hit me with force. I realised that in uprooting myself I had discovered a neglected, detached root which was looking for new soil.”
‘The Little Winters’ is appropriately titled as it appears to document McLuckie’s own re-birth after setting down roots in new soil.
Opening song, ‘Blackberry Love’ features seasonal plants like redbud, dogwood, and blackberry, led by the clarsach over a steady bass and four-part vocals, it leads the listener on a musical journey of growth and rebirth. ‘Bitten Winter Skin’ breathes life into cianalas, that deep Gaelic ache for a home long lost. Like the Welsh hiraeth, it is a ghost of a feeling, a sharp, wintery yearning for a place that lives only in a loving memory.
Mcluckie is at the height of her powers here. Flanked by George Burrage’s steady bass, Awen Blandford’s soulful cello and vocals, and Sean Rogan’s deft banjo and production, she has crafted a rich sonic and lyrical tapestry that surprises with every listen. The production is first class with every instrument and vocal blended together in glorious harmony.
Other standouts include the ethereal instrumental ‘New Northern Lullaby’, the Lowry-inspired ‘Mister God’, and the atmospheric ‘The Dark Island’, a cover of the theme from the 1963 BBC series of the same name.
‘The Little Winters’ is the definition of understated brilliance.