Music Review: Leonie Jakobi, Walk to West Berlin

Leonie Jakobi by Christian Stein

Introducing you to Leonie Jakobi, a German, Liverpool based singer-songwriter. On 31.07.20 Jakobi releases her second single, Walk to West Berlin, the follow up to February release Are You Lonely Enough? and it is a banger, as the kids might say.

Jakobi expertly tackles the issue of a divided nation/city by focusing on the story of two people in love and separated by circumstance. One imagines that this is a story that resonates with people across the world, and is a situation that Shakespeare devoted an entire play to, ‘You’ll have to hide me/ We can never let them find me.’ – such emotion.

Jakobi’s ‘pair of star-crossed lovers’ are inspired by her family’s roots in Berlin and the risks her grandmother would take as she smuggled items from West to East Berlin. Such is the inspiration of the grandmother; she also features on the single’s cover.

Leonie Jakobi – Walk to West Berlin Cover (hq)

The song’s video is a collaboration of sorts, with German film, Zwischen uns die Mauer (The Wall Between Us), directed by Norbert Lechner. Interestingly, Jakobi’s schoolfriend Lea Freund plays the lead and this is perhaps further evidence that barriers are falling; previously unheard stories are being revealed; and that for the next generation of artists, there is no holding back.

Leonie Jakobi by Paul Wills

I was fortunate to hear this track back in February at a small intimate event launching the inaugural issue of The Broken Spine Artist Collective where Jakobi and others, including Henrio and Micayl, provided music to accompany the poetry readings. At the time I was assured that the single would have the much fuller sound of a full band upon its release and it does. However, the folk elements are still there. Indeed, this track could be described as rock/folk pop. There is an immediacy and intimacy brought about by these folk features at the beginning and end of the piece which bookend a rousing climax akin to classic rock anthems. For such a young songwriter, this is an accomplished piece of work.

Jakobi presents us with bona fide integrity – a sure fire way to connect with listeners. She tells me that the mission in her music is to tell stories of the ages, and to hold a place in the heart of her listeners with a raw sense of merciless honesty – Walk to West Berlin does this in spades.

Poetry Review: Black Bough Poetry, Deep Time: Volume 1

Black Bough Poetry, founded in 2019 by Matthew M. C. Smith, has reignited the independent poetry scene in the United Kingdom through their publication of high-quality, imagist poetry and their engagement with poets and presses of all backgrounds through their amiable Twitter activity. It has been a genuine pleasure to watch the project develop, and further, to have been offered opportunities to actively participate and have my work published. There are few editors I trust more with my work than Matthew and his team of guest readers. So, when I was invited to read and review their first print release, Deep Time: Volume 1, inspired by the work of Rob Macfarlane, I was more than excited.

However, I feel I ought to begin by making this clear, I had reservations about this specific project when I first saw the submission call. I had not, and have not read Macfarlane’s text, Underland. On the surface, it does not appeal to me in terms of genre. With that being so, what follows is an honest review of a poetry that ‘mines a range of deep spaces, plummeting into mythologies, histories and deep geological time.’

What is immediately apparent, is the range of contributors. Indeed, there are a number of superbly talented writers among the contents listings and some other less familiar names. Seeing poets such as Ryan Norman, Dai Fry, M.S. Evans and Kari Flickinger is enough to whet one’s appetite and helps me to put aside my reservations. The collection is arranged into five chapters, and the texts are carefully arranged by theme. Despite their connections, there is a great deal of variety in terms of writing style that warrants attention.

The opening poem of the collection, Laura Wainwright’s, Poem found on a cave wall, makes creative use of white space and sets the standard for the rest of the collection. This text helps to direct us, below surfaces, into other worlds, ‘unfazed, forging beyond cold… going/ deeper,/ travelling further’. The texts themselves serve as footholds in the readers descent, ‘After the ice age, after the fire,/ five mass extinctions./ I reach to high-five handprints of burnt ochre,/ silhouetted on stone.’ Karen Hodgson Pryce picks up where Wainwright leaves off, and her manipulation of the page in the poem, Drawn, is eye-catching. An expertly crafted text, where the actual written word is equal to the free form, ‘when steel/ meets cloud,/ and whales/ are lost/ in the/ choked sea’. Black Bough have developed their reputation publishing striking, imagist texts, and this would sit neatly alongside anything previously published.

I should also take time out to mention the images printed alongside the poetry, which only heighten the experience for the reader. Beautiful, raw and deceptively rudimentary images that display a primitiveness, that A.A. Parr’s line could be describing, ‘histories revealed themselves/ as red powder on white rock bone.’

The juxtaposition in the opening line of Ankh Spice’s poem, Solstalgia, ‘Half-done sun flares the water, light lancing clear depths’, highlights the craftsmanship of the work on offer throughout. While the texts eschew traditional form and structure, the poems remain poetic and the language in this poem (and throughout) is inventive, surprising and sometimes challenging. This is no criticism. My personal taste has been tested here and I feel more inclined to read beyond the parameters I had created for myself previously. Perhaps this David Bowie quote is apt here, given the subject matter and themes thrown up in this collection, ‘Always go a little further into the water than you feel you’re capable of being’. If this collection has done anything, it has widened my experiences.  

You can order your copy from: https://www.amazon.co.uk/Black-Bough-Poetry-Deep-Time/dp/B08928JBHD

Poetry Review: Paul Robert Mullen, ‘disintergration’

“disintergration” (2020) is Mullen’s fourth poetry collection, following “curse this blue raincoat” (2017), “testimony” (2018), and “35” (2018). It is a text that shows the writer to be working at the peak of his powers.

In terms of style, each of the collections have strong similarities. However, Mullen’s acute ability to say so much with so little has never been more apparent. The individual poems, by their very nature, are both pithy and incisive and the craftsmanship displayed is truly remarkable. As a reader who has closely followed this writer’s development, I can say with authority, that the writer has evolved into one of the foremost and exciting poets in the independent poetry community.

Mullen eschews the restraints of form and structure, preferring to write with total freedom. He sees the page as a tool in itself and makes intelligent use of space to breakdown his work, and in doing so makes it that much more immediate and accessible. Those readers who claim to be unable to ‘get’ poetry, this is the work for you.

There is a muddying of the line between the poet’s own voice and experience, and that of the poet-speaker. In this way the poetry has a transient quality, and I am in awe of Mullen’s capacity to find beauty in the banal. This is perhaps most apparent in “images”, ‘like blackbirds preparing broods in colour/ you will see yourself in teardrops/ in autumnal mists/ over russet meadows/ in spider-web-december sonowflakes’. Such elegance.

There is a common theme, centred around death and rebirth – a regular juxtaposition between gravity and hope that throws light on what it is to be alive. Consider, ‘i pull out the notebooks the pen/ but the words aren’t there’ in contrast with, ‘the next day / blossom under branches/ faces in the woods’. Such peaks and troughs are a constant throughout. While Mullen writes about the end or disintergration of one relationship, he also proffers great optimism for those yet to come.

The beauty of the chapbook, is that it provides the writer with a platform to compose a series of themed and inter-related texts. In “disintergration” Mullen has taken this form of publication to new heights. It is a superb addition to the poet’s existing ouevre, that shows great development of skill and exposes a vulnerability, that was until now absent.

“disintergration” is available now from https://www.animalheartpress.net/p/purchase-disintegration.html?m=1