Winner of the Songlines Europe Award 2016, The Fade in Time is very much a 21st –century album. Impassioned and hugely ambitious in scope, it is a major statement from an artist and group who extend the borders of traditional English/Scottish/European music beyond national boundaries to encompass Bollywood beats, Polynesian textures and contemporary classical music.

Sam Lee and his band comprise cellist Francesca Ter-Berg, trumpeter Steve Chadwick, violinist Flora Curzon, percussionist Josh Green and koto player Jonah Brody. They entered Imogen Heap’s Hideaway Studio in Essex with Penguin Cafe’s Arthur Jeffes and Jamie Orchard-Lisle as co-producers, and spent three months laying down tracks and layering music for Sam’s new album, The Fade In Time.

From the blaring brass and martial drums of opening track, Johnnie O the Brine through to the softly closing account of The Moss House, with just Sam’s voice and Arthur Jeffes’ beautifully minimalist, elegant piano, the instrumental textures and vocals –augmented by the Roundhouse Choir on Lovely Molly – make The Fade In Time a distinctive reinterpretation of the British folk tradition. Several of its songs, including opener Johnnie O the Brine, were learnt from Lee’s mentor, the Scottish traveller, Stanley Robertson. It’s a tale of hunting, poaching, slaughter and magic, and to form its soundscape, “I wanted something with rhythm, punch and drama to it,” says Lee. “I heard this tarantella approach, and the horns are hunting horns, inspired by Tajikistan wedding bands, spattering and spitting out these sounds”.

Poignantly, The Moon Shone On My Bed Last Night, was the last song Robertson taught Lee. “It was the last song he’d learnt from his aunt, the great singer Jeannie Robertson,” says Lee. “One day Stanley said to me, I want to teach you a song, and that was the one. It holds a very special place for me.”

The powerful, condensed version of the famous Napoleonic song Bonny Bunch of Roses comes from Freda Black, an octogenarian gypsy singer Sam has visited many times on the Hampshire-Sussex borders. As Lord Gregory began with the voices of Henderson and Higgins, so Bonny Bunch begins with an archive recording, an Eastern European cantor singer from whom Sam takes the lead as the band rises with a driving fife and drum accompaniment. These and Lee’s own field recordings have a key role on the album. At the close of Over Yonders Hill, a staple of the band’s set and a tragic lament that deals with herbal remedies and plant spirits, we have the voice of Freda Black reciting the song’s verses to the soft metronomic sound of a clock in her sitting room, quietly framing the expansive arrangements we’ve just heard. Says Lee, “It was such a dreamlike moment – you could hear the process of her remembering all these fragments jumbled in the deep past, and extracting them out of this stream of consciousness.” And the clock going in the background, time ticking away.

Which brings us to the title, The Fade In Time. “It’s the fade-in time, and the fading out that happens in time. Which reflects the songs – what happens to this experience and memory; how it dissipates, disappears there and reappears here…”

Album Press & Reviews

This is a terrific album, full of dignity

Daily Telegraph

The most emotional songs are bravely straightforward but quite unexpected... Surely one of the albums of the year.

Guardian

With arrangements this musically adventurous, you might fear that the poetry and drama unique to each song would be drowned out, but Lee is adept at drawing out the dramatic narratives of these ballads

The Arts Desk

At the heart of all this is that voice and sensibility, carrying these frail, powerful stories and melodies – that did almost fade in time – into our era in an entirely modern form.

Songlines

combining revivalist zeal with revisionist panache, Lee has accorded trad folk songs of the British Isles fresh cachet

The Australian

A compelling, if occasionally difficult, work of art

Culture Fly

Sam Lee loves music and here, the music loves him back

Stereoboard

brings a deep reverence and a wildly inventive sonic vision to the british folk tradition, making these ancient songs sound new again

Popmatters

This music is restless but keenly aware, finding common ground and intersections between a range of source material and contemporary contexts and, most importantly of all, delivering these songs with honesty, conviction and genuine feeling.

MusicOHM