Gwenno: Tresor review – more seductive Cornish psych-pop | pop and rock

RBorn to a Welsh activist mother and a Cornish poet father, Gwenno Mererid Saunders has become a single-handed Celtic revival during her two previous Welsh-language albums from 2014. The last day and the all Cornish of 2018 The Kov. Using slinky synth-pop mediums, the two merge language, landscape and identity, alternately angry and playful.

Treasure continues in a similar but more accomplished vein, placing layers of Gwenno’s ethereal vocals against arrangements that slip between Ardamm’s polished pop and psych-folk explorations such as Men An Toll, a soundscape for a trio of standing stones at Land’s End. As usual, Gwenno’s partner, multi-instrumentalist Rhys Edwards, remains in charge of production, but it’s truly a collaborative effort. Although NYCAW (Nid yw Cymru ar Werth – Wales is not for sale) carries the flag of its homeland, the rest of Treasure is rendered in Cornish. Although sometimes conflicting – Where is your mother tongue? he demands at some point – his songs are mostly introspective and allusive, drawing inspiration from nature (Kan Me celebrates May Hawthorn) and Gwenno’s recent entry into motherhood. An ambitious album (it comes with an 8mm film and several quirky videos) from a unique artist.

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