Martyn Bates (of Eyeless in Gaza) has been releasing solo projects for some time now, a lot of which were instrumental in the rejuvenation of the folk scene, particularly in the eighties when synthesiser and electronic beats seemed to be drowning out the rest of the musical continuum. Yet rather than separate the two styles, Bates has constantly married the two, creating on the one hand a precursor or sister sound to apocalyptic-folk while on the other establishing a dream pop-folk sound distinctive to itself.
With Bates’ new release, a collection of some of his best work entitled Your Jewelled Footsteps this coupling of styles is ever apparent. Take the first tracks, "Cut Like Sunset" & "Shoepoem", for example and aside from the overlaying of acoustic folk instruments you’d swear it was David Gahan singing. A side project concealed away from the masses.
Other dream pop fused tracks continue to dot the landscape of Your Jewelled Footsteps. With "I Can’t Look For You" mixing the classic Americana sound of the banjo with hushed evocative vocals so characteristic of the eighties synth-pop movement. Or "First and Last February" which follows in the footsteps of many an electro power ballad before it with salient synth and vocal emotion at each and every chorus.
It comes as some surprise then when Your Jewelled Footsteps enters more traditional (for lack of a better word) neo/ apocalyptic folk territory.
"Twilight Turns From Amethyst" is perhaps the first most memorable difference in both mood and style on the album. While Bates’ vocals still take presidency it is the background accompaniment of halcyon sounds both cryptic and haunting simultaneously that will perk the attention of those taking an interest in Bates from an apocalyptic folk perspective (those purists among them may do well to skip the first few tracks for fear of getting the wrong idea).
"Once Loved" continues the neo-folk side of things with a more acoustic fused piece; brimming with all the pagan sound of early greats such as Pentangle or Comus with a spicing of modernity with regards to the dreamy vocal techniques woven in perfectly with this traditional sounding song.
"Cherry Tree Carol" is another great port of call when looking for that more apocalyptic resonance, with an amalgamation of brooding sounds varying from faint industrial-esque noises to haunting digital echoes. All orchestrated via a subtler, though still as ever present, version of Bates’ vocals, the biblical symbolism of which merely adds to that classic ethereal nature of folk with a darker side.
As a whole, this compilation of Martyn Bates’ work could either please both fans of apocalyptic-folk and synth-pop or alternatively may isolate fans from both sides who prefer their music a little less a) synthetic or b) apocalyptic. The pairing of the two sounds not quite blending as well as one would hope. Regardless of this fact however, Bates’ release unarguably showcases several unique creations and, despite its faults in terms of merging of styles, Bates is still worthy of merit for the bravery of such an attempt if nothing else. This and some brilliant tracks hidden within the bulk of the twenty track assortment and you’ve got plenty of reason to investigate this gathering of his most representative work.
