screaming orphans sunshine and moss

​Screaming Orphans (from the album Sunshine and Moss  available as a self-release) (by Chris Wheatley) 
 
On the face of it, Screaming Orphans are a PR man's dream; four sisters who sing, play and write their own material. Even a cursory glance into their background, however, and you can firmly put to bed any thoughts that this might be a superficial outfit. Hailing from Bundoran, County Donegal, Ireland, Angela Diver (bass, violin) and sisters Joan (drums), Marie Thérèse (keys, accordion) and Gráinne (guitar) possess both a heavyweight pedigree and a refreshingly honest approach. These are talented, committed players who have, among many other achievements, collaborated with Sinead O'Conner, Peter Gabriel, and Joni Mitchell. Most interestingly, they have also toured and recorded with Senegalese wonder, Babba Maal. Screaming Orphans describe their own music as ‘reflecting our Celtic roots, but crossing many cultural boundaries’. Sunshine and Moss was recorded at their childhood home ‘on very basic equipment during this past springs' lock-down’.
 
Sunshine and Moss (a beautifully evocative title, if ever there was one) is clearly a product of the unique circumstances in which it has evolved. In times such as these, it is perhaps natural that we instinctively return to an era when (real or imagined) things were simpler and more innocent. To that end, the album contains many traditional classics, which the sisters grew up with. “My Grandfather's Clock” is a prime example. In some hands, this seasoned song could easily come off as mawkish. Screaming Orphans manage to find something new here, injecting a classy sheen with ringing, chiming piano, breathtaking harmonies, and subtle twists and turns. “Johnny Has Gone for a Soldier” sparkles beneath a ghostly shroud. Ominous acoustic guitar and sparse arrangements contrast with the sunshine and hope conjured by magical vocals sung with heart and longing. The second half of this track shifts gears into up-tempo Country Pop which, it must be said, works brilliantly.
 
The sister's musical prowess is clearly displayed throughout this set. The production is simple and plain, which is eminently suited to the choice of material. Little rough edges add a bucolic charm, but the quality on offer bursts through.  Marie Thérèse's piano playing is mercurial without ever sounding showy, weaving decorative borders with ease; her accordion adds pleasing variety. Joan's drums and percussion are stirring and swaying, marshalling the assembled players and driving the music when needed. Angela's bass provides the glue that binds them all; the more you listen to her playing, the more impressive it gets. Gráinne's guitar slides and plays (seemingly) effortlessly. Combined, they make for an enchanting listen. 
 
“Ye Jacobites By Name” is a rollicking, bouncing track, full of musical nuance. Powered by rhythmic banjo (as a fellow-player of the five-string, it's great to hear) and, again, those sublime harmonies, this track is a highlight. “Pat Murhpy's Meadow” has an almost sea-shanty air as it lilts and gently sways. “Factory Girl” shows us exactly why the sisters are in such demand as singers. (by Chris Wheatley)
 
Listen and buy the music of Screaming Orphans from AMAZON
Visit Screaming Orphans website for more information
 
 

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