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Furze Cutter Chorus (demos)

by mummer

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1.
Grandfer Cantle’s song from Return of the Native by Thomas Hardy The king’ call’d down his no’-bles all’, By one’, by two’, by three’; Earl Mar’-shal, I’ll go shrive’ the queen’, And thou’ shalt wend’ with mee’. A boon’, a boon’, quoth Earl’ Mar-shal’, And fell’ on his bend’-did knee’, That what’-so-e’er’ the queen shall’ say’ No harm’ there-of’ may bee’. Do thou’ put on’ a fri’-ar’s coat’, And I’ll’ put on’ a-on’-ther, And we’ will to’ Queen Ele’-anor go, Like Fri’-ar and’ his bro’-ther. The king’ look’d o’-ver his left’ shoul-der’, And a grim’ look look’-ed hee’, Earl Mar’-shal he said’, but for’ my oath’, Or hang’-ed thou’ shouldst bee’.
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The Mummer’s play in Return of the Native by Thomas Hardy Father Christmas: “Make room, make room, my gallant boys, And give us space to rhyme, We’ve come to show Saint George’s play Upon this Christmas time.” The Valiant Soldier: “If then thou art that Turkish Knight, Draw out thy sword and let us fight!” Turkish Knight “Here come I, a Turkish Knight, Who learn in Turkish land to fight: I’ll fight this man with courage bold: If his blood’s hot I’ll make it cold!” Saint George: “Here come I Saint George the valiant man, With naked sword and spear in hand, Who fought the Dragon, and brought him to the slaughter, And by this won fair Sabra, the King of Egypt’s daughter: What mortal man would dare to stand, Before me with my sword in hand!” And extracts from the Creative Commons audiobook of Return of the Native by Thomas Hardy
4.
Extracts from the Creative Commons audiobook of Return of the Native by Thomas Hardy
5.
Ferns 05:46
Exctracts from the Creative Commons audiobook of Return of the Native by Thomas Hardy
6.
Maypole 06:05
‘Childhood among the Ferns’ by Thomas Hardy I sat one sprinkling day upon the lea, Where tall-stemmed ferns spread out luxuriantly, And nothing but those tall ferns sheltered me. The sun then burst, and brought forth a sweet breath From the limp ferns as they dried underneath: I said: ‘I could live in here thus til death’; And queried in the green rays as I sate: ‘Why should I have to grow to man’s estate, And this afar-noised World perambulate?’ And extracts from the Creative Commons audiobook of Return of the Native by Thomas Hardy

about

“Furze Cutter Chorus” is a concept album on Thomas Hardy’s “Return of the Native”, named after it’s tragic ensemble. Like it’s namesake, each song of this album remarks on a scene in the novel, and is constructed from field recordings in the real-life equivalent of each scene’s setting. It forms the narrative chronologically, with lyrics of folk songs the chorus sing and Hardy’s poetry of the landscape.

Growing up in Hardy’s Wessex, I have a lot of early memories from each location in the novel. Edgon Heath is so vivid and recognisable in the work, but noticeably more vast and untamed than the one I know. Either Hardy used some artistic licence or man’s steady control and cultivation of the heath brought it down to scale, though both these ideas play into Hardy’s watching and ominous landscape. I wanted to record my own version of this indomitable landscape.

Spurning city life in favour of the rural, Hardy sought to preserve the local traditions that were under threat from Edwardian industrialisation. His role as an impartial chronicler, often partaking in the songs and rituals of the rural himself, appealed to me. To act as an intermediary to the landscape, creating work as a gateway to the rich culture of a place.

I often lie awake at night when the terrifying modern ambience of the dual carriageway roar or helicopter drones muscle in and drown out any birdsong or delicate natural sounds. It’s an unavoidable background noise to any field recording, but a necessary reflection of the modern landscape.

Writing around the same time as Hardy, M.R. James defined a uniquely English genre of ghost story - “The Eerie”. Drawn from the layered history of our small island, these uncanny folk tales prickle the back of your neck with the knowledge a hanging may once have happened in the street right outside your window, or Iron-Age mass execution beneath your feet. The Eerie’s modern counterpart seeks to expose the horrors in the British hedgerows, peek behind the Bake Off tent and look critically at the nestled away military operations, surveillance stations and decaying natural world glossed over in Country Life magazine.

Collecting a body of Dorset folk songs, poetry and local tales for this project, it became clear Dorset has a strata of tradition that can be used to critique our current time with. This album is th first work in this project.

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released April 6, 2018

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mummer Brighton, UK

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