RISE (TALITHA RISE)

Jo Beth Young, the etherealist, returns with her first album in her own name. Other artists have contributed musical ideas and performances, but this is Jo Beth in charge of writing, playing, singing, arranging, producing, the artwork and half the mixing. Broken Spells is a concept album built on personal lessons learned, each one illustrating the breaking of a spell once cast over the songwriter, spells broken as she experienced spiritual rebirth. In proper prog style, the album grew on me, especially with some profound songs having unusual rhythms and moving melodies. If you haven't heard her vocal chords in action before, head over to Bandcamp and give Standstill and Kinder Sea a whirl or two.

My first impressions were of haunting, simple melodies conjuring dreamy soundscapes that express pain and healing rather than melancholy. From track two onwards, there is a darkness lying beneath the waves. It works for me and that is why I am a fan. Pleasantly innovative, some of the rhythms click fully into place with subsequent listens, which is how I like it. The electronica bursting out of Broken Spells provides variations that may challenge the purists, but go with it and get with it, I say. I find the music spacious in places and almost rasping in others to great effect. Drama reverberates along the cliff edge before the angelic vocals carries one away.

Lyrics from deep in the heart of the songwriter journey through the hidden recesses of our beliefs and decision-making. I admire the aesthetics of this album's cathedral of music. From Brigid's bright stained glass windows to Ockham's Razor's dark alcoves; from Standstill's spacious nave to Kinder Sea's alter; from Lazuli's memorial to Burning's full on church organ. Don't let the gentle wolf at the door keep you out. The key to the album's soft opener is in the lyrical "Such a pretty way to die". The wonderful singing continues on from Jo Beth's previous albums, with maturing performances everywhere (vocals, songwriting, cello, guitars, beats, etc.). All is arranged for dramatic effect and it deserves the statutory three listens of any highly rated album on this website of marvels.

8 months on now from its release and Jo Beth has already moved forward to her next project, a multi-talented exercise in film-making called This Quiet Light. It promises to knit together original music and video across the theme of rural workers and their wisdom in working in tune with nature, wisdom that we are slowly losing as modern methods prevail. You can find out more as the project progresses on her webpage and her Ko-Fi site.

I had a tussle with Broken Spells over it's qualifications for essential progressive music. I would definitely say that if Kate Bush qualifies for her own ProgArchives page, then so does this artist and album. Whereas the likes of Aerial dazzled with long instrumental passages and longer songs abound in Kate's later works, Broken Spells does not boast long tracks. Yet, observing the criteria for progressive music, the album has no simple verse-chorus songs, it experiments with exaggerated dynamics in places and it is a concept album. It has added flourishes throughout and fresh guitar sounds to enhance it's messages. Allegories run rife through the lyrics and a new dive into electronica for Jo Beth diversifies onwards from her previous works. A final thumbs up to the cover artwork, which I always look to as a quick guide to whether an album has prog leanings. Indeed, an excellent addition to the collection of any fan of crossover prog. Essential? Maybe if you really love it, so 4.5 stars if that is permitted.

When I first came across 'An Abandoned Orchid House' by Talitha Rise I was just blown away by the sheer beauty and style of Jo Beth Young. This was followed up with 'Strangers', by which time she had shortened the band name to Rise and now finally we have her first full studio album under her own name (there was a compilation of rarities in 2022). She has maintained her long-term working relationship with Peter Yates (Fields of the Nephilim) who appeared on the debut, while both bassist Jules Bangs and cellist Ben Roberts have been there since the second, so although the artist name may have changed, this really is a logical progression.

Jo has always followed her own course, none more so than with this album which shows her spreading her musical wings in a way which may actually disappoint some of her longtime fans, but it is important for an artist to be true to themselves and follow wherever the muse leads them. Here Jo is still producing the wonderful dreamscapes we have come to expect, incredibly reminiscent of Enya and Kate Bush with her amazing clear vocals, but for the most part there is less piano and there are times when she experiments with styles which have been influenced by dreamy electro and dance as it has to the more folk and progressive styles we have become used to. Mind you, she did signal what the album was going to be like with the singles she has released over the last three or four years.

This means that as I do not normally listen to some of the styles she is portraying here, as generally I do not enjoy them, it took me longer to fully get inside this momentous piece of work than I expected, but the repeated listenings soon paid off and the different styles displayed here are essential to the overall flow of the album. Her vocals are sweet, innocent, with hidden depths and emotions, and she ensures the arrangements are there to support and assist and never overpower the voice which is always at the centre of what is taking place. This is an album which needs to be played on headphones when the listener has time to give it the full attention it needs, so they can fall deep inside the magical world of Jo Beth Young.

— First review of this album —

Released towards the end of last year, what we have here is a bringing together of previously released singles together with remixes from the archives and of songs which will appear on the new album. I have been a huge fan of Jo Beth since I first came across 'An Abandoned Orchid House' which was released by Talitha Rise, which she then followed up with the wonderful 'Strangers' as Rise before switching to using her own name. She has an amazing voice, reminiscent of Kate Bush and Enya, and in recent years has explored different musical possibilities, from folk through dance and dreamy ambient, but always with her vocals very much front and centre. There is a freshness in all she does, combined with a commerciality which makes it inviting and welcoming.

Her music always takes the listener to a different place, the reverb takes one into a dreamy ethereal realm where all that exists is the voice, and that is all that matters. It never sounds over-produced, and the arrangements are often quite simplistic, ensuring nothing takes away from the main focal point. There is a depth within this, belying the fragility which is also apparent, the result being something which needs to be listened to on headphones when there is no possibility of being interrupted as we drift away on a different plane. Although this is a collection of material as opposed to an album constructed at a singular point of time, it is a great way of catching up on what Jo Beth has been doing away from her albums and is also a nice introduction to her music. Well worth investigating.

--written in 2023

Jo Beth Young, the multi-instrumentalist, singer songwriter, presents her second album, Strangers. With a musical style in the gap between Kate Bush and Stevie Nicks, she very much commands her own style and sound. Her 2023 tour of UK and Ireland kicks off in Cardiff on 13th October, at the Norwegian Church Arts Centre. Finishing in Ireland in November, do catch one of the shows if you can, all at wonderful venues giving splendid atmosphere. These are still tough times for artists and they need our support! The shows promise to bring an original format, with storytelling and a joint venture with fellow folk artist Serious Child. Tickets are available via jobethyoung.com for around £17. I was paying that amount for concert tickets back in the seventies!

So to this, her second album. The collaboration with Martyn Barker for her first album has ended, hence the reduction of the group name to just Rise, as if Martyn was the Talitha in the previous group. For me, Strangers has the same quality of sound and songwriting as An Abandoned Orchid House, with a shift in emphasis towards piano and strings, to which is added once again the delight of Jo Beth's unique vocals. The beauty and musical intelligence from the first album continues, as the main artist here in Rise delivers her music her way.

I rate this album as highly for enjoyment as I do Jo Beth's first, yet in the PA ratings system, I feel obliged to notch it down a peg to 4 stars. I think there are other rather different yet equally good piano and strings albums out there, delivering beautiful progressive melodies and songs, so rather than claim this album to be essential, I will rate it as an excellent addition to any progressive collection. Its unique style and sound are a definite progression from An Abandoned Orchid House. The emotive performances are stepped up, especially in the title track, my personal favourite of any of Jo Beth's songs so far.

There is a good variety of moods explored throughout the 9 tracks on Strangers. The keyboard-strings-vocals triad shifts through dark clouds, radio silence and skysailing on its way to the finale of The Old Sewing-woman's Song. This is the longest and most progressive track recorded by Jo Beth and one of her own personal favourites. It is a beautiful closer to a beautiful album. If you like Kate Bush or any of the songs sung by McVie or Nicks on Fleetwood Mac's Rumours, I recommend this album to you. (rating: 4 out of 5)

Jo Beth Young, the driving force behind this, her debut album, is about to embark on a rare tour of UK and Ireland, through October and November. If like me, you missed out on seeing any equally rare live performance by Kate Bush, you have a chance to make some amends to your musical soul by getting a ticket for one of Jo Beth's special shows. Her musical style sits in the gap between Kate Bush and Stevie Nicks, yet she has very much her own sound. The shows promise to bring an original format, too, with storytelling and a joint venture with fellow folk artist Serious Child. Affordably priced tickets are available via jobethyoung.com. Catch the show if you can at one of her carefully selected, amazing venues, such as Hedingham Castle!

So, to this debut album, a collaboration with Martyn Barker, bringing about the Talitha Rise group name. Debut albums are notoriously experimental and toe-in-the-water efforts, very often shown up by the second or third albums, as the artist gets to grip with how to really turn it on. Then the debut appears dull in comparison, but some artists get it right first time. My favourite debut by any artist is The Kick Inside, especially considering Kate Bush wrote some of the songs at the piano before she even took her O-levels. For me, An Abandoned Orchid House flies out of the blocks with the same gusto, beauty and musical intelligence.

Martyn Barker brings an eastern flavour to the mixes with his guitar playing and his contribution to the album must be acknowledged. His percussion, too, is perfect for the songs, so credit where credit is due. It is Jo Beth out front with her voice that is the star attraction here, though.

My ticker name on PA gives away the fact that I am biased towards this artist. I rate some albums in my 400 cd collection higher than this one for overall enjoyment, but I have to award this album with 5 stars under the PA rating system because I consider it essential in its unique style and sound. You will not hear other vocals quite like Jo Beth Young's and I am a massive fan of the emotive quality, on a par with Peter Gabriel for moving this one particular listener. Music is Marmite. You either get it or you do not, yet always remember with both food and music, there is such a thing as acquired taste. I love that quality of truly progressive music, where familiarity breeds context and joy.

Across this album, guitar, piano and violin accompany quavering vocals, the sympathetic vibrations cleanse and soothe my nervous system. What else would one expect from a songwriter who once trained as an Energy Healer? She sees music as a healing art and sings accordingly. The careful selection of other artists playing string pieces has been mixed to perfection throughout, with a french horn in there, too. It is that reaching out for the unusual yet apt that propels the music towards its progressive qualities, eg. the African one-string fiddle known as a Riti or Nyanyero on Incantation.

Each of the 10 tracks on An Abandoned Orchid House carries melodies that were captured spontaneously, on the ear while out in nature, rather than technically planned as compositions on keyboard or strings. Then, the technicalities follow by instrument and mixing desk to add depth and colour, with many nuances and layering of sounds and reverb. I guess many artists have worked this way; I know Elgar did while out on the Malvern Hills, riding his Royal Sunbeam bicycle he called Mr Phoebus. I love the results of this fluid method of songwriting, following the flow of what feels good as nature inspires the imagination and the muses within find a fitting melody.

I will just add that if you do not like the opening track, this album is not going to be your cup of tea. It opens the set in a beautiful style that runs like a theme throughout. The album ends on a stunner, too. If you like Kate Bush's The Man with the Child in his Eyes, you should give this album a listen or two or three... (rating: High 5s)

I think what I have here is the third issue of this 6-track EP which was originally released in 2014 under the name Big Blue World, the duo with Jo Beth Young and Martyn Baker (Shriekback, Goldfrapp, Robert Plant). It was then reissued on CD in 2017 under the name Talitha Rise, their new band, with an additional song and different artwork, and now it is available digitally through Jo Beth's Bandcamp pages it is back as a 6-track with another image. Actually, this image is by far the most fitting, as it ties in perfectly with what I think of for Talitha Rise, Rise or Jo Beth Young. She is easily one of the most exciting singers and performers I have come across for some time, and I only wish I were back in the UK so I could see her play. As it is, I have to be content with listening to songs which came out six years ago but could easily have been recorded just yesterday.

I know Baker was a key part of her musical journey, and his acoustic guitar is an important part of the sound, as is Jo Beth's piano, but is her vocals and the wonderful arrangements I have come to associate with her that make this album what it is. There are plenty of strings and layerings, but as always, I am drawn to that voice, that wonderful voice, as she sings to us about magpies, foxes, and brings the land to life. Acoustic, singer-songwriter, folky, progressive, it really does not matter at all what one wants to call the genre, as at the end of the day it is all about wonderful beautiful music

I have been a huge fan of Jo's last couple of albums as Talitha Rise and Rise, and now she is moving out under her own name. This two-track digital single features a radio edit of 'Allumez' along with 'Invisible Fishing'. In some ways both these songs are more direct than the albums, but that does not detract from the beauty in any way. She is a singer who has an incredible presence and strength, yet there is a frailty about the music as if it is a gossamer web which is struggling to stay together with the dewdrops weighing it down and the gentle breeze moving it. But, there is steel in the design and a power in the vocals, and it is not just beauty but something deep and meaningful. If this is an example of the direction she sees herself moving in then I for one will be following with bated breath to see what happens next.

During the recording of her last album, 'Strangers', Jo Beth Young and violinist Helen Ross had booked a hall to record the violin. After they had finished, Jo Beth started playing the piano which was in a corner (with missing keys), and the two of them started improvising. Also, in the hall that afternoon was the poet Shiu, who started writing words as a response to what he was hearing. Jo Beth and Helen later decided to improvise again, but this time they set up a microphone in the middle of the hall, and Jo Beth sang the words over the top in one take. This is the result of that session, and to say it is magical is something of an understatement. The piano is obviously beat up, but due to that it has a resonance all its own, while there is an interaction between Jo Beth and Helen that is really quite special. When Jo Beth sent this to me I played it and immediately hit repeat, and felt I was being transported into somewhere quite special indeed, where time and space cease to exist and it is only the piano, the violin, and those ethereal wonderful vocals. To think this was fully improvised, with words written only that afternoon, which had never been set to a melody, is simply unthinkable. This is a very special moment, captured in time, and as listeners we are so very lucky indeed to be part of it. Hauntingly beautiful.

Since the release of her debut album, 'An Abandoned Orchid House', Talitha Rise has shortened her name to RISE, but I am more than glad to say that musically she has carried out in a very similar vein. In my review of the debut I said "the arrangements are such so that there is enough going on to pique the listener and want them to spend time unravelling it all, but always at the top of the mix is that wonderful voice, intimate and personal, as if Talitha and the listener are the only people in the world. This is quite some album." To be honest, I could have lifted those and applied it to this one as well, except in many ways this is even more special. I listened to it on headphones again while going on a walk yesterday through the empty streets as well abide with lockdown. I came across just a few people doing the same as me, and we all nodded and smiled at each other, making sure we were always at least 2 metres apart, and the soundtrack playing in my head was perfect accompaniment as I felt I was all alone in the world with just that voice for company.

RISE said: "David Gray once wrote a line that has stuck with me - "and when we meet again, we will be strangers". That, in a nutshell, is the idea behind this album. This album traverses the challenge of the personal 'abyss' and the emergence from the bleakness of loss and separation. This gives way to hope, wisdom and the taking of responsibility." The album wasn't recorded in a studio, as RISE worked distantly with her live band and guests such as Peter Yates (The Fields of The Nephilim) and then worked on each track in the seclusion of the west coast of Ireland. In some ways it is reminiscent of Talis Kimberley, or Enya, or Kate Bush, or Suzanne Vega, or none of the above or all of them. This is an album of atmosphere, of being, of being surrounded by a magical mist where everything works together to create a shimmering backdrop for that voice, for that pure voice.

When I listen to this album, I am taken to a magical place, up on the moors, in the wilds, where there is just me and the landscape, at one with nature. Some songs are basically just RISE, while others have additional musicians, all coming together mixed and melded so the voice is always at the forefront, "Radio Silence" reminds me somewhat of Alabama 3 with a more countrified approach, but their emotion was far more cracked and less poignant, less welcoming. There is percussion on some songs, not on others, guitar the same, while piano is also important, but this is all about the vocals. This is music which takes the listener away from reality, where the only limits are our own imagination as we are taken into magical realms.

Yet another truly incredible work.

What we have here is the debut album from Sussex-based singer-songwriter Talitha Rise. She provides vocals, guitars, keys and more, which were complimented by collaborator Martyn Barker (Shriekback, Robert Plant, Marianne Faithful, Billy Bragg) with both his drumming and multi-instrumental skills. The album also includes guest appearances, including Juldeh Camara (Robert Plant/Justin Adams/Real World - Gambian Riti), Peter Yates (Fields of the Nephilim - guitars) Arnulf Linder (KT Tunstall, Ed Harcourt - cello) and Rory McFarlane (Katie Melua - bass). Award winning songwriter Kathryn Williams provided most of the lyrics for "Valley" while songwriter Nick Webb (vocals, keys) collaborated on "Bloodfox".

What captures the listener from the first note to the very last are the wonderful vocals, which are always front and centre, with some reverb to add a little depth and emotion. The music is ethereal, a beauty that at times appears to be at risk of melting away altogether if the listener concentrates too hard on what is going on. Reminiscent at times of Talis Kimberley, at others of Suzanne Vega, Rise has a very pure sounding voice, one that hasn't been tarnished by modern pop music. Here we have a proper musician, singing wonderfully poignant songs, in a way that will affect anyone lucky enough to hear the album. It really is a thing of beauty, with depths that need discovery and close attention. It is the sort of album that one puts on the player and the world just drifts away, as if what is happening in reality actually doesn't matter anymore.

The arrangements are such so that there is enough going on to pique the listener and want them to spend time unravelling it all, but always at the top of the mix is that wonderful voice, intimate and personal, as if Talitha and the listener are the only people in the world. This is quite some album.