For today, I have for you a song by Child of Mind, which is, or perhaps was (we really haven’t heard anything new from him in quite a while so no idea if he intends to ever come back) the name of a solo musical project of Declan Galbraith, who has been a singer since age 10. It’s a live recording from Shenzhen in China, and I think it sounds really good. Way better and more ambitious both musically and lyrically, in my humble opinion, than anything he did as a kid and teen (though given that he was one of my faza peeps during my own teenage years I have a lot of sentiment for his earlier three albums too). Apparently there’s a lot of people who liked him back then and dislike the direction in which he and his music have gone as Child of Mind, but I think it’s only natural and healthy for kids to grow into adults, and for artists to develop over time as well, and also I have a feeling that there is a lot more of him in Child of Mind than in his earlier stuff, considering that he writes his own songs as Child of Mind, and I always tend to prefer music in which people put a lot of themselves into it as it shows better what they’re like as individuals.
Today I want to share a very popular Norwegian children’s song with you. It has been sung by a lot of different Norwegian artists, but I think my favourite version is that by Anne Marie Almedal, who is a pop singer from Kristiansand. The song was first published in a songbook by Norwegian teacher and children’s writer Margrethe Munthe. The below translation was written by Bibielz.
To finish this year off here at My Inner Mishmash, today I’d like to share with you this melancholic song from Georgia Ruth’s album Fossil Scale, which, as is very typical for this artist, is quite interesting lyrically.
Today I’d like to also share with you a piece played by the Welsh harpist Delyth Jenkins, like I’ve done many times before on here, but this piece is a bit different. It comes from an album which is the result of her collaboration with poet Emily Hinshelwood. The album is called Salt on Our Boots, and is inspired by their walk along the Pembrokeshire Coastal Path, and it contains Emily Hinshelwood’s poetry beautifully illustrated by Delyth’s harp, as well as some harp tunes. The whole thing is really interesting and so immersive that when listening to it as a whole, you can easily feel as if you were by the sea, although I personally have never been to Pembrokeshire coast, or Wales in general, for that matter. This piece refers of course to the blue lagoon in Pembrokeshire, and coresponds with Emily’s poem of the same title which is very descriptive and evocative.
For today, I want to share with you a two-piece set from the already well-known on this blog mother and daughter duo – Delyth (harp) and Angharad (fiddle) Jenkins – who are also known as D&A or DNA. While I know for sure that the second song in this set is a traditional tune and that it means The Blue Stallion in English, I’m not perfectly sure of the first one, either its origin or meaning in English. It looks like it could be their original though, and Google says that gan bwyll means take care, whereas my dictionary says it means be careful. I’m not sure which one is correct/more relevant here, so I just went with my instinct.
Today, let’s listen to some Swedish pop. This artist is in her late twenties and has only debuted some three years ago but has already released three full-length albums and established herself on the Swedish music scene, and to some extent in Europe in general. She’s also a Grammis-winner (Grammis is the Swedish Grammy) and has many other successes under her belt. She herself describes her music as pop with country and Americana influences. I’m not big on country, but this vibe in her music doesn’t bother me at all and it gives it a characteristic quality. I also like her deep and emotive voice a lot and a bit sad and blue feel of a lot of her music. The song by Sarah Klang that I want to share with you is the title track of her second album. I don’t know exactly what it is that instantly captured my attention when I first heard it on the Swedish radio the year it was released, but it definitely did and I really like this song a lot.