Dave's Music #133 Emily Scott Robinson - Built on Bones
If you read the last Nov Bandcamp highlight you know I was wow'd by Emily Scott Robinson's "Built on Bones." Of course people familiar with the blog know I really respect this woman's songwriting and the clarity of that voice, she has graced six of our previous playlists, including a review of "American Siren" back in April. Back then I just missed running up to the Twin Cities to see her, and now I'm sad I'm not planning the trip in March to see her tour in Twin Cities because the place is a standing venue. God I hate those places, I need to get her to the Pump House or my house concert. Also in August I had a great time to connect to Siena Christie while she visited for the Great River Folk Fest, and I found out that Emily has been a great friend and mentor to Siena. Now I really love this woman.
Ok now that we've got the introductions out of the way, let's look at this six song gem. The title track, two versions of Old Gods, a lullaby and a closer. Off hand it doesn't look like it would this be overall impressive, but I'm hoping you all take the time to read on and of course listen.
Usually I'm great at reading liner notes, but this was Emily and I knew I would love the music. Quickly I heard the three voices and you know I'm a sucker for harmony let alone from skilled women. Bought and sold, I clicked and bought the album and moved on to the rest of my Bandcamp Friday buys.
Now that I'm slowing down and diving deeper into the album it's hitting home this is special. Original songs that mine the spirit of the witches of Macbeth. Now we're lucky to have a national quality level Shakespeare fest in Winona, but we typically go to the comedies, plus my wife teases me, "didn't you read that in school?" Nope. So all this is kind of new to me, but I searched out more to understand. First the liner notes:
The record begins with “Built on Bones,” the prophesy delivered by the Witches foretelling Macbeth’s rise to power and subsequent death. Next is “Old Gods,” the love song and theme for Macbeth and Lady Macbeth, sung by the Witches as the two lovers reunite after battle. The third track is “Double Double,” a fresh, sexy and celebratory version of the infamous spell cast by the Witches.
The B side of the record is darker as the machinations of the Macbeths unravel in the final acts of the play. “Sleep No More,” is sung in a circle around Lady Macbeth as she exists in a waking nightmare of her own hallucinations and the Witches prepare her for the afterlife. “Old Gods” is then reprised in the minor key as Macbeth grieves his wife’s untimely death in the famous “tomorrow and tomorrow and tomorrow” soliloquy. “Men and Moons” serves as the epilogue to the play. The Witches are joined on stage by other women characters— Lady Macbeth, Lady Macduff, and the Crone— to sing a Celtic prayer and blessing song about the cycles of life, death and rebirth.
Artist’s Note: It is important to know that Shakespeare wrote Macbeth under the reign of King James I of England, a ruler who sanctioned brutal and violent witch hunts and trials across his kingdom, imprisoning and murdering countless women. In line with the fears and stereotypes of that time, the Witches of Macbeth are written as ugly, hag-like, and scary creatures— a portrayal that has persisted in popular culture for hundreds of years. We thought it was time for a powerful rewrite of these Witches as the healers, seers, and creators that they are. Today we are still in a battle for the sovereignty and safety of the bodies of women, non-binary, and trans people. Through these songs we declare that our power and magic cannot be controlled or snuffed out by a violent patriarchy of fearful men.
credits
"We convened a witch coven to make [this recording]," says Robinson, with a half-joking, half-serious tone. She was a longtime fan of world-traveled, Nashville-based instrumentalist and producer Zdan, whose sound she describes as "dark and gritty." After a long phone conversation in which the producer "immediately" understood the record's concept, she was tasked to helm the project.
Amador, Robinson and Ross join forces for "beautiful" three-part harmonies on the EP that are grounded by Zdan's "vibey, Tom Waits-inspired" production choices.
“In the spring of 2021, I was asked by my friend and theatre director Colin Sullivan to compose music for Shakespeare’s Macbeth," Robinson says. "The Witches of MacBeth are traditionally cast as scary, ugly and evil creatures to which we attribute the darker magic of the show and Macbeth’s descent into madness. Our theory was this: What if the Witches were instead beautiful, tempting, sexy, powerful and playful? What if the Witches held the capacity, just like Macbeth, for both light and dark magic? After all, in the time of King James I and the witch trials in England, the ‘witches’ targeted by the Crown were not supernatural beings — they were folk healers, spiritualists and teachers."
Let's listen to the music:
1) Built on Bones
While other reviewers said the sound quality was Tom Waits inspired, I'm hearing a Daniel Lanois quality like one of my favorite "Oh Mercy" and for some reason I never heard it before but Emily's voice is similar to my friend and excellent musician, Sofia Talvik. Quickly you hear the other ladies building the chorus for a great eerie start. Of course, Emily a day before this post went live posted a story behind this song, I just have to share it. If she does any more like this, I promise to keep adding them to the post after publication.
