Music > Interviews
Echoes in the Well
09/12/14
Imagine going to an intimate Norwich gig, in a candlelit church, pub or cave, where the audience stands in the centre of the room and the musicians stand in the room’s four corners. They play dynamic, unpredictable and lyrical songs which feel organic and ancient. Surrounded by this uplifting sound, it’s quite a special and unique experience. Echoes in the Well are a Norwich post-folk band who have just released their first album and will be playing at The Octagon Chapel this month. I spoke to Danny about how their live concept came about and how they came up with their song The Ballad of King John.
How would you describe the music you make together?
We make music that is unique, heart-led and sincere; the sum of our collective, symbiotic efforts and dynamic relationships. We care a lot about the words, and want to convey these in a format which is striking and causes people to sit up, take-stock, reflect and move forward. Like our fans, we may struggle to describe the music we make together; it doesn’t fit neatly into any prior category/ genre. We are making our own kind of music!
How did you all meet?
The Naarch circuit! Tom and Danny have been playing together for approximately five years, and had an immediately inspiring influence on each other; they then scouted around for other musicians who would contribute to our vision, recruiting Will from another band. Dom has been a close friend for years, and hearing his distant harmonising in the house we used to practice in won our hearts!
You started life as a band called Koi Paraga, and won the Livewire Unsigned competition. Can you tell me about that experience?
Sure, so it was our first public performance actually; up until that point, we’d spent over a year as a four piece honing the sound. The competition involved performing at least one cover song, which isn’t something we ordinarily do but we managed to make a pretty mean, taut and tense version of Spinning Around by Kylie Minogue! And we won. The following year, we made it to the final of the Next Big Thing competition, playing on the main stage at OPEN. We didn’t win on that occasion, but it was another fun, and slightly unusual experience.
You’ve played in a lot of local venues, including Micawbers, the Wharf Academy and Olives. What would be your ideal dream venue?
Yes, these are some of the venues we’ve played in recently. Also in Norwich, we have really enjoyed our gigs at the Bicycle Shop, Norwich Cathedral and on the Main Stages of The Arts Centre and OPEN. The latter are the only two exceptions to the principle, however, that we will primarily play ‘in the round’, rather than up on stage, as we are continually striving for integration with our audience; a deep sense of ‘togetherness’. We actively seek out ‘sacred spaces’, which are particularly resonant. We have recently plotted to hold a rehearsal in Fingal’s Cave, in the Inner Hebrides. We plan to take a boat there, next year. We want to start inviting people to secret locations such as derelict ruins, caves and under bridges. Fans have often suggested that we should be booked to play somewhere like the Royal Albert Hall. We’re just waiting for the call…
What are your musical influences?
Diverse! Danny’s singing has been likened to Billie Holiday’s emotional expressiveness, and his lyrics to Ernest Hemingway. Tom’s guitar has been compared to John Renbourne and Bert Jansch. Their initial partnership was formed with the intention of reinventing the emotional sensitivity and passion of John Martyn, in a unique and personal way. Will’s influences, as double bassist, are broad and varied, contributing subtly and incisively to our delicate soundscape. Adaptable and thoughtful, Will brings an understated power to our music. He is particularly inspired by Cinematic Orchestra's Phil France and the legendary Charles Mingus. Dom’s involvement in the band added a positive tension and earnest eeriness, which is inspired by artists such as God and Bjork, Hanne Hukkelberg and Prince.
How would you rate the folk scene in Norwich?
Sadly, there is a popular misconception of what ‘folk’ means. Amongst the early pioneers of what was first called ‘folk’, it was about making music of and for the people. And we are making ‘people’s music’, in that we aim to provoke reflection on what it means to be a human being at this time. Today, ‘folk’ tends to mean anything with an acoustic basis, or something engaging with local traditions. We are certainly not ‘traditional’. We are mostly acoustic, but that is a technical rather than cultural decision. There is a lot of talent in Norwich, and there is a lot of history and heritage, which the better songwriters engage with. There’s not a ‘scene’ of the kind we’d like to see; we’d like people to really make a ‘scene’, and we hope to initiate a revolution of some kind!
I particularly like your song The Ballad of King John. What is the history behind that?
Ok, so there's this legend that school children in Norfolk learn about, that King John came to Norfolk in the 13th Century, and his Crown Jewels were drowned in the Wash, buried under miles of silt. It is true that in those days, when the tide was out, it was possible to cross the Wash, just like a road. Geologists and historians have combined very scant evidence to develop the theory that a tsunami caused by an undersea landslide came over the carriage containing King John's treasures, depositing them in the very bottom of the wash. In this song, the historical myth is equated with a modern scientific prediction; that the Broads of Norfolk could be completely flooded, disappearing during our lifetimes. We juxtapose these two narratives, shifting between the past and future, then arriving back to the present time in the final stanza, encouraging listeners to consider their priorities- what do we treasure, and what can we do to avoid losing it, just like King John?
You often play by candlelight, and position yourselves around the outside of the venue so the audience are in the centre. How did you come up with these concepts and how do you think they affect the gig?
It’s partially connected to the old folk tradition of taking turns to recount tales ‘in the round’. It’s also an ancient, primitive activity for people to gather round a fire. In our scenario, the amplifiers, in the centre, represent the fire, and by standing at four corners, around and alongside our audience, we aim to create an atmosphere of inclusivity. People tend to be sceptical, upon arriving, but we haven’t heard (directly or indirectly) a negative review yet. People seem to like the fact that they’re passively participating, catching the eyes of other audience members, watching and being watched simultaneously. It’s been described as “bathing in the most exquisite sound-bath”, or “like a cuddle-puddle, and we’re all just one big family!” It certainly breaks down any barriers, and encourages people to really be together, sharing raw emotions.
Where did you get your name? I’m assuming you’re not named after the song Echoes in the Well by Corrosion of Conformity?
I haven’t even clicked on that video, which arises to the top of the Youtube list when people search for us. When we played at Norwich Cathedral, we invited two sound engineers, to survey the space, and discuss the technical approach. One of the soundmen, Pete Warner of Stacked Promotions, described the sound we were seeking to create, as being like ‘echoes in a well’. We’d been debating name changes for months, and that was a light-bulb moment. It seemed to perfectly encapsulate all that we wished to convey in our title. As I said earlier, we had previously been called ‘Koi Paraga’, a Sanskrit phrase that the Buddha allegedly called out thousands of years ago, inviting people to join his movement; a rough translation is ‘Anyone for the other shore?’ Only one person, a professor in Cambridge, got it, though, so we sought a new name, in English!
Can you tell me about your debut album, released in January called All Shall Be Well?
It’s a masterpiece, recorded live in a barn, available for download at www.barnrecordings.com. The title comes from the first book written in English by a woman, our very own Julian of Norwich. We’re very pleased with the sound that the Barn guys managed to get, capturing our spontaneity and inter-connection.
I was interested to see the album artwork; it’s rather reminiscent of the cover of Slint’s Spiderland. Was that deliberate?
Ha! No, I’ve just typed it into Google, and listened to the album! Our photographer directed that scene, but we were all pretty keen to wade into the Wensum river on that January afternoon. I don’t think she, either, was aware of that allusion.
What are your hopes and plans for 2015, both personally and as a band?
We’re almost ready to record our second album; admittedly, we haven’t really begun promoting the first album! It’s gonna be a bit more funky, upbeat; a positive digression. It will be called ‘May You Be Well’, referencing Loving Kindness meditation. We’re making each other happy, through our music. We’re doing our thing.
Echoes in the Well play at The Octagon Chapel on January 30th, along with James Frost & The Norwich Underground Film Club. More details from www.dreamsmusic.co.uk.