(Brawl)
The violinist sets out on her darkest exploration of yuletide yet, giving a murky and melancholy twist on familiar Christmas standards

Traditional music finds its popular, cosy home in the carol, despite the uncanniness that surrounds the nativity story, and the fraying thread back to the past that each winter brings. A veteran explorer of the season (in 2020’s sparkling Winter Rituals EP with cellist Kate Ellis, and 2022’s starker New Christmas Rituals, with amplified fiddle-playing from André Bosman), Laura Cannell sets out on her best and darkest journey yet here, exploring the time of year when, as she writes on the liner notes, “joy and heartache try to exist together”.

Named after the line in Good King Wenceslas before the cruel frosts arrive, Brightly Shone the Moon begins at the organ – a nod to Cannell’s childhood Christmases in the Methodist chapels and churches of Norfolk. Cannell’s fiddle then quivers around the 16th-century folk melody of O Christmas Tree/O Tannenbaum, as if the carol is swirling in a snowglobe, trying to settle in memory. All Ye Faithful follows, full of murky repetitions of the pre-chorus passages, where choirs usually sing “come let us adore him”. But here, love feels stuck, rooting around like an animal in the ground, a sonic reminder of how smothering and strenuous the winter can be for many.