> ## Content Index > Fetch the complete content index at: https://www.hwaelmag.com/llms.txt > Use this file to discover other available public pages before exploring further. # M G Boulter & Jenny Sturgeon :: Wild Convenor - URL: https://www.hwaelmag.com/m-g-boulter-jenny-sturgeon-wild-convenor/ - Published: 2026-08-31T07:51:32.000Z - Updated: 2026-09-11T19:57:55.000Z - Description: Pastoral folk, close harmonies, lap steel and home-recorded intimacy. - Author: Hwael Mag - Tags: Album Reviews, 2026, Pastoral, Singer-Songwriter, Landscape ### Released on 21 August 2026 by Hudson Records, Wild Convenor grew from a correspondence between M G Boulter and Jenny Sturgeon: voice notes, lyric fragments and unfinished melodies travelling north and south for several years. --- Recorded in their respective homes between 2024 and 2026, the album keeps something of that epistolary process. Boulter and Sturgeon both come from writing that is very sensitive to place; here, though, landscape has a practical function: things pass through it. Family stories, journeys, objects, memories, dead time pass through it, those small pieces of information a day carries around without quite knowing why. “Jason” has very little around it. Dry guitar, two voices close together, the lap steel every now and then leaving a pale streak behind the lines. The keyboards, almost grime left on the tape. The melody moves without hurry: after two minutes it could be a familiar song, found in a kitchen where nobody remembers who first started singing it. “Wild Convenor” takes more air. Jenny Sturgeon carries the vocal, while guitar and small electric interventions keep the background open. There is something coastal in its motion, a short going out and coming back, like a low tide, the instruments moving forward a few steps and then drawing back. The structure remains that of a folk song passed through colder currents. [Wild Convenor by M G Boulter and Jenny Sturgeon](https://mgboulter.bandcamp.com/album/wild-convenor-2?ref=hwaelmag.com) “Flint Knapped” keeps to the path. The acoustic guitar follows the framework of old British harmonies. The two voices walk close together. Everything stays small: flint, dust, a hill at night, a shard picked up and forgotten in a pocket that years later still knocks against the keys. “Time Between Days” insists on less accommodating intervals and movements. The count trips just enough to keep footing uncertain, and the voices take turns with grace. “Introverts By Nature” is given to Sturgeon, who sings it with an almost filial care. The voice seems to hand someone over to the natural world so that it can look after them: little ritual, a great deal of attention, the tone used when straightening a blanket before turning out the light. The guitars, just a little more shaped, provide a countervoice with a slightly old-fashioned gentleness, almost as though they had borrowed their good manners from another age. LISTENING NOTES / 01 02 03 “Jason” Dry guitar, close voices and occasional lap steel make a family song feel as though it has been passed around a kitchen for years. “Flint Knapped” British folk harmonies reduced to flint, dust, moonlight and something small enough to remain forgotten in a pocket. “Introverts By Nature” Sturgeon sings with unusual tenderness while the guitars answer in a slightly older, more formal language. Shetland and Essex enter the songs through work, absences, journeys, ordinary days and the long time of correspondence. They remain concrete places, never loaded with a meaning that has to go beyond what happens there. When “All of Us Together” arrives, the title therefore carries a small domestic irony. Much of the album exists because its authors have been apart. > **The distance has remained in the method, in the intervals, even in the way the voices reach one another.** Here they sing almost in unison, with the simple pace of a walk that finally does not need to explain where it is going. It is a modest conclusion: after years of fragments sent back and forth, for a few minutes the two ends of the thread are in the same place. *Wild Convenor* is humble and stubborn, and that stubbornness is part of its honesty: a few intervals ask for more patience than others, a few silences run a beat longer than they need to. But beneath the gentleness there is real dust, real distance, work done slowly and without an audience in mind for most of it. That much survives the two years it took to make. ---