A review and interview with TIM HUNTER
Can I ask you why you have released your latest album "Connecting with Faith" under the name Northern Faith as opposed to your own name?
TIM: I wanted to start a new, separate, project which focused on the history of faith and spirituality in the North East of England, i.e. what was the kingdom of Northumbria in the first millennium (which incorporated Yorkshire). This expands the concept a bit geographically from songs about Yorkshire’s more recent history, although two songs are specifically about Yorkshire characters i.e. ‘Caedmon’ and ‘Alcuin’. This follows on from last year’s “The Progressive Campaign”, an album which looked at how faith had inspired William Wilberforce to achieve success in his political campaigns. This time I am looking at how Bede , Cuthbert and Aidan transformed their region into a centre of culture that rivalled anything in Europe.
BTW: This isn’t the first time I have released songs about Christian history. On previous albums e.g. on “Yorkshire Through the Ages I” there was ‘Maundy Money’ and volume II of that series featured ‘St Hilda of Whitby’, and a song about St. Robert of Knaresborough. Plus ‘Constantine’ and ‘Alcuin’ were both featured on the “Eborockem” EP. This is the first time, though, that I have created a whole album devoted to Christian history.
The album starts with the title track, an overture of sorts, for the vocal tracks to come. It has a monastic/ Gospel feel with a lot of different elements to it in a short space of just over 2 minutes - it must have taken some time to get the arrangement the way you wanted it: without getting too technical, how do you go about the composition and production of your music?
TIM: Yes, it was tricky and the rhythm took a while to get right. This one came about initially as a synth rock instrumental but I started deconstructing it a bit and adding in samples of different kinds of church music e.g. Gregorian chant and Gospel etc. The idea was to create a kind of ambient techno hymn. ‘Sadeness’ by ENIGMA was an influence.
Who is the singer on 'Caedmon's Song' and elsewhere on the album?
TIM: The vocalist is Mary Motolani, a brilliant Gospel singer from York. She provides lead vocals on ‘Caedmon’s Song’ and ‘One Faith’. She also does backing vocals on ‘Song Of Freedom’, ‘The Good Way’ and ‘The Venerable Bede’.
Some might think you take a rather romanticised view of English history, from a Christian perspective. Christianity must be a major part of your life: can you elaborate on this and how this inspires your music (I note 'The Good Way' has a reference to Ephesians in it).
TIM: Yes, I do tend to look at the positive aspects of history, and in fact I believe we can be proud of much of our history. I have strong connections to church music - my Father was a church organist (and my grandfather was a church organist and choirmaster as well). I am an Anglican and although I like traditional church music, I also like contemporary Christian music and gospel music. I am combining these influences into a classic pop/rock sound. In fact, Psalm 92:1 says ‘It's good to praise The Lord, and make music to His name’, and those words are featured in ‘The Good Way’.
There were the beginnings of this new direction on ‘The Progressive Campaign’, with tracks like ‘Amazing Grace’, ‘I Got Religion’ and ‘My Faith’. Somehow, by playing the character of William Wilberforce on that album, I felt inspired by his faith. Actors (or singers) very often get so much into their characters they start to identify with and experience the character’s inner motivations and emotions. This has all led to a reconnection with my own faith.
I now see the extent to which the traditional church, after having been in a dominant position for so long, is under pressure and is struggling for attention in modern society. I believe we can revive interest in the church, though, by drawing inspiration from the early Northumbrian pioneers, for whom life was often insecure and for whom the future of the church was often hanging in the balance. I also believe that creating new music can help with that revival.
I particularly enjoyed the challenge of converting non-rhyming complex quotes from Caedmon, St Cuthbert and Alquin (and Biblical quotes from e.g. Ephesians) into lyrics for songs. They worked well as lyrics because they are so beautiful, poetic and powerful.
Anyone who has been to Lindisfarne will appreciate what a magical place it is: I was fortunate enough to visit on a clear summer's day and found it quite a spiritual experience. You talk about the Golden Age of Northumbria and Aidan, Bede and Cuthbert whose names have gone down in history. What do you think the present-day awareness is of this history, including the changing borders of Northumbria. I often think of your music as a history lesson!
TIM: Sadly, there is not much appreciation of History these days and unfortunately there are even some revisionist/negative views of our past being aired. Many people who come to my shows, though, say that they learn a lot about History by listening to my music. I hope in a small way my music might help celebrate the rich and diverse history we are lucky enough to have in the North. My interest in Northumberland has increased in recent years as I’ve driven up to Edinburgh along the beautiful coastal areas.
What are the key messages in the music on "Connection with Faith" conveys?
TIM: Let’s revive our Faith through music and through making connections with our past. Also, let’s follow in the footsteps of the Saints who’ve gone before us and revive our own faith in our own way, by creating modern worship music.
I believe you are appearing at the Edinburgh Fringe again this summer. Could you provide some details of this, and any forthcoming projects.
TIM: After performing musical shows about Yorkshire's history in 2022 and 2023, I’m returning to the Fringe to look back at the first millennium, when Edinburgh and Yorkshire were both part of the Kingdom of Northumbria. The audience will hear musical tales of The Venerable Bede, Caedmon and many more.
Comments