AR – Wolf Notes

The influence of one’s behaviour, attitude and social development as a result of one’s habitat has been the subject of scientific and anthropological study for centuries. Whether Darwin’s theory of evolution or simply the impact of an individual changing their working, residential or personal space, the examination of this change and the impact of one’s surroundings by their environment is both fascinating and important.

Performing arts lend themselves perfectly to this form of investigation, particularly from a critical and analytical perspective. For example, studying filmmakers such as Hsiao-hsien Hou and Wong Kar Wai within this context is enthralling. Here we have artists widely regarded as two of Asia’s most accomplished filmmakers, yet their attempts to make films within a western environment proved disappointing. Was this a case of their art being inaccessible in translated form, or a simple case of their comfort zone being broken? The analysis is of course the result of a subjective matter, but there can be no doubt that the change in habitual circumstance had an impact on their creative output.

So how does this introduction relate to music and in particular to the critical analysis of our subject – ‘Wolf Notes’ – a new record by Autumn Richardson and Richard Skelton? Having learnt from previous entries into the Skelton canon of the importance of environment in terms of landscape, nature and setting, this opening will set the tone for what will follow, as we look to understand how change as well as subject has allowed ‘Wolf Notes’ to stand as another vital recording from one of Britain’s essential composers.

Released under the artist name AR, ‘Wolf Notes’ comes from the collective pseudonym of its two performers. ‘Wolf Notes’ plays homage to the landscape, place-names, flora and fauna of Ulpha which is nestled in Cumbria, Northern England. Here Richard travels further north from his native Lancashire, a setting for which he had previously commented on under his A Broken Consort guise.

From opening track ‘Inception,’ the first of five that comprise this album, listeners are reintroduced to the classic Skelton sound and at first it is unclear whether a change of scenery has affected the composers work. Awash with melancholy, a slow bowing of strings overlaps itself, joined by a soft use of cymbals. As the track slowly builds we begin to hear the light semblance of a female’s voice. It only becomes clear that this is indeed the calling of Autumn Richardson as ‘Inception’ seamlessly blends into the album’s second track ‘Rise.’

While previous recordings from the artist have taught us of one of his traits – the use of auditory motifs or repeated and often looped stringed phrases – ‘Rise’ introduces us to a evolution of the Skelton sound; the voice. Yet in spite of this addition, the sound remains true to form. Here Richardson’s enchanting hums take centre stage forming motifs of their own, while Richard’s string play slowly develops in the background.

Relating to this advancement in the composers’s auditory palette, it is interesting to refer this back to our earlier commentary on environment. Here it is clear that the intimacy between both recording artists has translated to their creativity. Does the enveloping sounds of the voice with looped strings symbolise more than just a musical duet or are we witnessing a joining of two beings through musical form? Has Skelton stepped back to allow this new presence in his life to form the centre of his creative output? As before these questions are born through the subjective nature of art, but they prove interesting nonetheless.

As ‘Rise’ reaches its crescendo, a subtle change in Autumn Richardson’s tonality transfers us to ‘Decline.’ Here we witness the continuing narrative journey which again is a customary ingredient to Richard Skelton’s compositions. Again, the same themes exist as prior, but with small changes to drive the story forward. For large portions of this track, we are treated to just strings, while occasionally the ghostly and enchanting qualities of Autumn’s voice reappear.

On ‘Rest,’ a much shorter track to the two found previous, large parts of it are built through near silence or the slight reverberations of percussion. Here we hear the occasional note of vocals slowly weave their way into the music before fading to black. The album closes on ‘Return,’ where again we witness a spiralling of string play and vocals working together in tandem. The mysterious qualities of Richardson’s voice take on a more forlorn form as they cry around the piercing loops of Skelton’s string play.

‘Wolf Notes’ is an enchanting release. We hear of a record that will retains the familiar qualities of previous Richard Skelton albums, but one that also builds on these thanks to the addition of Autumn Richardson’s captivating chorus. While this record is without doubt an ode to Ulpha and its surrounding environment – as is referenced again through Skelton’s remarkable attention to the packaging, the album is also an important example of how wider factors can positively influence creativity. In this sense, one can hope that there is a degree of permanency to the AR pseudonym as we look forward to future recordings not only from this duet, but also the continuation of their solo work which no doubt will be inspired thanks to the habitual advancements that have impacted both performers.

- Review by Josh Atkin for Fluid Radio

Available through Corbel Stone Press

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