Bella Frankie - Falling In The River

​Bella Frankie

Falling In The River
​self-released; 2022

3.9 out of 5

By Dino DiMuro

Alt-folk musicians Ajita Cannings and Michael Turner met and fell in love in a hospital room, and they drop this factoid like it’s no biggie! Hailing from the mud flats of Bundjalung Country in Australia, they formed a duo called Bella Frankie (the names of their two dogs) in 2021, with their debut album Falling In The River being released in 2022. Ajita Cannings sings and plays ukulele and autoharp, while Michael Turner also sings and plays guitar, percussion and bass. They are joined by Nick Fisher (drums/percussion), Phil Levy (banjo), Natasha Kraemer (vocals/cello) and other North Coast musicians whom I will mention along the way.

The band’s press release describes this album as “a genre-crossing folk, pop and blues experience. Michael and Ajita share their journey from meeting in a hospital room last year to recording on a remote island in Tasmania and how music played the arrow in cupid’s bow for the couple.” Recording took place on Flinders Island in the Bass Strait in Australia, with additional tracking at a home studio. Production was by Michael Turner with mixing and mastering by Nick Larkins at Beatnik Bunkr on Pro Tools. 

“Annie & Mary” opens the set with a clap-along folk pop gem, instantly memorable and hummable. The band notes that the basic tracks were recorded live with a lot of mics, which results in a bit of “distance” in their sound. Having tracks with a lot of inherent room ambience requires that overdubs must be carefully planned and mixed, so that they don’t sound like intrusive close-up additions. Bella Frankie call this a “lo fi” sound but I’d argue with that; it’s more of an organic, lived-in sound, with a retro style that Alan Lomax would have been proud to discover. 

“Seaside” features lots of happy, pretty vocals by Cannings, and all sorts of folky accompaniment like Steve Gilbert’s harmonica, Natasha Kraemer’s cello & backing vocals, and Nick Larkins’ jews harp. The lyrics paint a picture of a relaxing day at the seaside without a trace of guile: the emotions are all right at the surface, and they involve a lot of fun. “Ajita” is named after the band’s co-leader (of course) and features Matt Bone on double bass (like the previous tune). It’s got a distinctly Spanish feel, with suitably trilling acoustic guitars. 

“Don’t Let Em Come” features guest David Dixon on double bass, though Steve Gilbert’s wild man harmonica grabs your lapels during the solo section. At this point Cannings and Turner are starting to remind me of Geoff and Maria Muldaur, whom I wouldn’t doubt was an influence on these two. Speaking of influences, “Wolf” is a cover of a song by the two-woman band First Aid Kit. I don’t know the original tune but the version here is like a dramatic folk tale set to music, with haunting harmonies, ghostly autoharp flourishes and distant wolf howls. The steady instrumental build is a thing of wonder. Standout track!

“The Sun” is a song about love as refracted through the warm rays of the sun, and as such feels sweet and intimate, and without as much distance between Canning’s lead vocals and the listener. Especially nice acoustic playing here, with essential backing from Natasha Kraemer’s cello. The closing harmonies spark pleasant memories of The Roches. “Rumi” plays with a similar vibe, and is said to “explore the great folk-music themes of community.” The lyrics are touching and evocative (“If I had a mum and dad like yours i’m sure / I could be anything anyone anywhere / Better than I am now”) and is another instrumental wonder where all players are dead-center in the pocket. 

“Voodoo” concludes a run of songs where the vocals and background melodies are a bit on the darker, yearning side, though the choruses hint at the smoky jazz of Diana Krall. For me the sentiment and spooky effects might be a little on-the-nose but I can’t deny it’s a great track. “Two” appears to be an autobiographical song about the birth of the band leaders’ love story, toasting their new relationship with “alcohol free wine from paper cups” while sitting “on the tiled rehab floor.” It has the charms of a ‘60s folk classic, though with a loose and organic performance.

​Listeners who enjoy folk or acoustic instrumental music will find lots to love here, even if you’re not at the hospital. Worth checking out!

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