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Eleanor's Visceral Tomb is one of the projects by Sean Breadin, who most often performs under the name of Sedayne. This particular project focuses on extended musical pieces that are perhaps closest to some form of mediaeval music, but with something else that's hard to put your finger on. Since I get that feeling with all of Sean's works, let's just say it's his own unique charm and style. This, the latest album, presents us with five new tracks.
"The Wife of Usher's Well" is Sean's rendering of a traditional ballad (more info: here). It's also the only vocal track on the album, where Sean's voice is accompanied by the mix of instruments also present on the other songs: zither, frame drums, assorted jew's harps, clarinet, and many more. "Long Meg & Her Daughters" and "Castlerigg" form a duo, linked not only by the opposite elemental symbolism of Air and Earth, respectively, but also by the fact that both were inspired by prominent stone circles in the area of Cumbria. Both tracks are extremely long, and consist of extensive improvisation on a single atmosphere and feeling. And indeed, it works. Besides conjuring up the mystical atmosphere that a stone circle commands, each track is a very good representative of its element. The Air track starts with a rather dark winter melody, but is soon taken over by a clear melody, headed by a low whistle. "Castlerigg" is thus more earthy, with a dark atmosphere, some heavier droning sounds, and excellent work on the cwrth, a bowed lyre.
In between is "Carmina Quicum Laudo Logos", which is based on Fire. This is perhaps the most accessible track, being based on two simple but very strong melodic themes. It starts with the first theme, gently built up on strings with a backing of percussion, jew's harp,harmonium and various bird calls and effects. A while into the song, this theme calms down, giving way to the very intense second melody, more uptempo, and headed by clarinet. At the end of the track, things turn full circle, and we are returned to the gentle cadance of the beautiful opening theme. I really love this track, and it ranks among the best I've heard from Sean thus far. The album ends with the relatively short Water track. It doesn't remind me so much of any intrinsic elemental aspect of Water, but the flow of the zither and clarinet melody does suggest the soft bobbing of a ship on a calm sea.
It's always very difficult to adequately describe Sean Breadin's music, but here once again the keywords are improvisation, originality, ritual, sincerety, and so on. You really have to get into a certain listening mode for his music, because it is truly something else. That said, I once again recommend you to check this album out if your interested is piqued. There is a lot to discover about this album, though it might not give up its secrets easily. Over fifteen minutes of improvisation per track may seem daunting to some, but trust me, it can be worth it, and in this case, it is. One of my favourite works by Breadin so far, but I've only just started.
See this topic on our forum for some links with more info, and to the video versions of "Long Meg & Her Daughters" and "Castlerigg". See the "buy" link below for even more info about the album.
O.S.
"The Wife of Usher's Well" is Sean's rendering of a traditional ballad (more info: here). It's also the only vocal track on the album, where Sean's voice is accompanied by the mix of instruments also present on the other songs: zither, frame drums, assorted jew's harps, clarinet, and many more. "Long Meg & Her Daughters" and "Castlerigg" form a duo, linked not only by the opposite elemental symbolism of Air and Earth, respectively, but also by the fact that both were inspired by prominent stone circles in the area of Cumbria. Both tracks are extremely long, and consist of extensive improvisation on a single atmosphere and feeling. And indeed, it works. Besides conjuring up the mystical atmosphere that a stone circle commands, each track is a very good representative of its element. The Air track starts with a rather dark winter melody, but is soon taken over by a clear melody, headed by a low whistle. "Castlerigg" is thus more earthy, with a dark atmosphere, some heavier droning sounds, and excellent work on the cwrth, a bowed lyre.
In between is "Carmina Quicum Laudo Logos", which is based on Fire. This is perhaps the most accessible track, being based on two simple but very strong melodic themes. It starts with the first theme, gently built up on strings with a backing of percussion, jew's harp,harmonium and various bird calls and effects. A while into the song, this theme calms down, giving way to the very intense second melody, more uptempo, and headed by clarinet. At the end of the track, things turn full circle, and we are returned to the gentle cadance of the beautiful opening theme. I really love this track, and it ranks among the best I've heard from Sean thus far. The album ends with the relatively short Water track. It doesn't remind me so much of any intrinsic elemental aspect of Water, but the flow of the zither and clarinet melody does suggest the soft bobbing of a ship on a calm sea.
It's always very difficult to adequately describe Sean Breadin's music, but here once again the keywords are improvisation, originality, ritual, sincerety, and so on. You really have to get into a certain listening mode for his music, because it is truly something else. That said, I once again recommend you to check this album out if your interested is piqued. There is a lot to discover about this album, though it might not give up its secrets easily. Over fifteen minutes of improvisation per track may seem daunting to some, but trust me, it can be worth it, and in this case, it is. One of my favourite works by Breadin so far, but I've only just started.
See this topic on our forum for some links with more info, and to the video versions of "Long Meg & Her Daughters" and "Castlerigg". See the "buy" link below for even more info about the album.
O.S.