Quinn’s take on indigenous sounds and folklore are offered through ambient instrumentation – violin, guitar, cello, trumpet, harmonica, synths, ‘broken bass’, and ‘shabby percussion’ as well as spoken-word/narrative-style story-lined lyrics, and chant-like vocals. Simply put, this avant-guard collage of sounds is at points a bit ridiculous, but it is obvious that Daniel Patrick Quinn won't take himself too seriously on a commercial level. "There are three nasty tracks, and five nicer ones," he comments.
Still, it is easy to find yourself sinking into the surprisingly powerful mood he projects, if you get past the "three nasty tracks". Track 2, "The Burryman", features 60-year old narrator Duncan Grahl's storytelling over a mellow drone. Nasty or nice, it’s one of the strongest parts of the album.
Daniel Patrick Quinn's passion for the land is passed along to the music. This passion helps the music come alive. As unique as it is original, I don't think Daniel Patrick Quinn's tribute to the traditions and landscapes of Britain will go unnoticed.
