Haress: Skylarks

This decade, Haress have been one of the most trusted voices across the U.K.’s experimental landscape. Led by Elizabeth Still and Dave Hand, over the years the pair have drafted in various voices – the latest manifestation seeing them joined by Chris Summerlin (Hey Colossus, Grey Hairs et al) and Dave Smyth (Kling Klang) – and it’s proved for shimmering results. The band’s 2022 long-player, Ghosts, one of the year’s finest releases, gaining further ground from their excellent 2019 self-titled debut.

In many ways, Haress’ much-anticipated follow-up, Skylarks, is the logical conclusion from the band’s ever-spanning endeavours on the back of Ghosts. From a memorable U.K. tour alongside Wrong Speed Records label mates, Enablers, and supporting post-rock legends, Godspeed You! Black Emperor, to broadening their listenership on the back of memorable performances at the Sea Power-curated Krankenhaus festival and Birmingham’s holy grail that is Supersonic, Skylarks is a celebration that ultimately frames these times.

With additional vocals from Sweet Williams’ Thomas House, Ghosts saw Haress lean on their sensibilities where ’90s touchstones June of 44 and Lungfish lurked in the shadows. A slight contrast to Skylarks, which sees the band strip things back as a four-piece, revelling in the long form with four instrumental movements that ring with a bucolic charm and a woodsy aesthetic indicative of the band’s Bishop’s Castle locale. Alongside local producer, Phil Booth, these songs are shaped and etched deep with locality and earthiness.

On Blood Moon, Haress begin with a nod to rural living; the sound of metallic scratches and scrapes carrying through the tall grass, and as the song builds with rustic drones that swell with the kind of raw crescendo reminiscent of Slint, Haress move at their own speed. Unhurried, with medieval-like guitar interplay that lulls you into a sense of calm.

Meanwhile, King David is the sound of industry. A three-pronged guitar attack, led by Still with inflections from Hand and Summerlin, this is shadowy folk conceived through the embers of a campfire. Haress, creating the kind of haunting backdrops not a world away from the works of Richard Thompson, as the rugged terrains of Northern Britain sharply come into focus.

And that’s where things remain on Coin Clippers. Inspired by Benjamin Myers’ The Gallows Pole, in all its soft thrums and sepia-toned majesty, the song sees Haress match the drama of said works. In truth, it could have been a worthy addition alongside the likes of Lankum and Goat in the novel’s television adaption, and should a second series prevail, then the music of Haress should be the focal point of it.

Like King David, the eponymous closing song is one that Haress have played over the last couple of years, and on tape it doesn’t lose its spark. Accompanied by an ensemble instead of their audience who would usually chime in with the stirring chorus (“Far above the skylark sings / And beats the air with joyful wings / To all the sky the music brings / At high noon of the day”), not only does Skylarks hold the album together, it also sees Haress infusing the community spirit of folk music, maintaining traditions while adding their own colours to it.

It’s a nod to the past by showcasing a relevancy in the present, and on the back of Skylarks, Haress reaffirm their position as one of the most vital experimental folk acts not just in the U.K. but also beyond.

Skylarks is out now via Wrong Speed Records. Purchase from Bandcamp.