by Ben Hogwood

What’s the story?

There are two new beginnings at work with this release, the first one on the new Odda Recordings label. Odda, founded by Leaf’s label manager and press officer, Thea Hudson-Davies, describes itself as being ‘informed by the musical contours of a long-running NTS Radio show, taking the lesser-walked paths across the fringe terrains of experimental music, percussive electronics and film soundtracks’.

To that end, the choice of Flaer – aka Realf Heygate – is an obvious one. Heygate is an artist, pianist and cellist based in Leicestershire, and this mini album has strong classical connotations in its title. For inspiration the net is cast further afield, however, drawing on environments and field recordings that would fit into 1970s folk horror films,

Heygate started the album during lockdown, restricting himself to four track tape and three acoustic instruments – cello, piano and acoustic guitar.

What’s the music like?

Preludes captures the rarefied atmosphere of early lockdown in the UK, where an eerie quiet fell over the land and familiar sounds such as birdsong and church bells took on heightened significance and intensity.

Hew reflects this in its churchyard recording that quickly segues into gently oscillating piano and guitar, rippling out beautifully to a rocking cello motif. The cello takes the lead for a plaintive but searching melody on The Hill, while the guitar comes forward for Pasture, closely mixed to capture fret movements under the watchful eye of a blackbird.

Forever Never is the first truly heartstopping moment, an eddying piano line dropping away into stillness:

Landlock pits broad cello phrases against complementary guitar, but a low piano note on Magnolia introduces caution, the pastoral scene compromised by swarming treble lines, though these soften appreciably as the track proceeds. The closing Follow sees dense acoustic guitar lines accompanied by the distinctive chirp of house sparrows, before the cello adds richness.

Does it all work?

It does. Close-up listening is recommended, to catch the detail of the field recordings and the softened timbres Heygate often applies to the instruments. The only regret is that the recordings do not exist in longer versions, as there is still plenty of room for musical development in each.

Is it recommended?

It is. An auspicious start for the new label, which looks well set for the long haul. Preludes will put you under a spell for 20 minutes, and though on occasions it might get eerie, Flaer’s environment is a musically nourishing place to be.

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