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Olvardil Prydwyn plays pagan folk, accompanying himself on harp. Normally, this concept wouldn't appeal to me, for it reminds all too quickly of sweet music where the love for the Goddess is propagated a bit too zealously. When I heard The Witch in the Well, though, it quickly became clear that I was wrong, as the music managed to touch me immediately.
All songs feature the vocals of Olvardil Prydwyn, where he, as said, is accompanied by his own harping, and by the beautiful cello of Diana McFadden. Not many other instruments appear, except for the instances of flute, mandoline, guitar and some percussion. The tracks are a pleasant mixture of traditionals, adaptions of modern music and original songs.
The album begins with a well-done interpretation of the traditional "John Barleycorn", which is about the changing of the seasons, fertility and the joy of imbibing (barley is an ingredient for beer and whisky, for example). It immediately defines the mood for the rest of the album. The romantic "Midsummer Faire" is also based on a traditional song, "The Curragh of Kildare". "Lady With a Fan" was originally written by Grateful Dead, and because of the very original interpretation and beautiful gripping harp melody, it is one of my personal favourites on this album. "Isle of Islay" was first recorded by Donovan in this cover is the only one that stays relatively faithful to the original in terms of melody and atmosphere. Both versions are beautiful, by the way. "Porpoise Mouth" is another 60s/70s cover, and this time of a song by psychedelic band Country Joe & The Fish. Prydwyn has given it a twist of his own, turning the song into a pretty ballad. Also the beautiful and serene "Pat's Song" was originally by Country Joe & The Fish. "See Emily Play (Games for May)" is an adaption of the same song by Pink Floyd. The song is stripped of all the bombast that came along with the first version, leaving only the core melody on harp and cello, which makes for a very calm and sensitive track. A cover very well done! Next up is the long "The Witch in the Well", an own composition and very rockish compared to the other tracks, with not the harp, but acoustic guitar as a base. It's remarkable that this song is much closer to the atmosphere of the 60s and 70s than the cover tracks. In any case, this track is just as good and entrancing as the others. The Witch in the Well closes off with a traditional song, a remix of the calm "Fhir a' Bhàta", which also appeared on Prydwyn's earlier album At the Feet of Mary Mooncoin. This track appears exclusively on the MP3 version.
Overall, this is a very diverse album, with engrossing and varied tracks. Almost all tracks on The Witch in the Well are adaptions of other artists, but this is done so idiosyncratically that the music gets a very unique character. The only downside I could come up with is the nasality of Prydwyn's voice. Personally, I don't mind it at all, but I can imagine it might put off some people.
Olvardil Prydwyn and Diana McFadden is recommended to anyone who likes original pagan folk and is also interesting for non-pagans. Besides that, fans of abovementioned bands might give this a listen, if they're open to a vastly different interpretation of the tracks. Also, fans of Loreena McKennit are advised to give this excellent album a chance.
D.M.K.
All songs feature the vocals of Olvardil Prydwyn, where he, as said, is accompanied by his own harping, and by the beautiful cello of Diana McFadden. Not many other instruments appear, except for the instances of flute, mandoline, guitar and some percussion. The tracks are a pleasant mixture of traditionals, adaptions of modern music and original songs.
The album begins with a well-done interpretation of the traditional "John Barleycorn", which is about the changing of the seasons, fertility and the joy of imbibing (barley is an ingredient for beer and whisky, for example). It immediately defines the mood for the rest of the album. The romantic "Midsummer Faire" is also based on a traditional song, "The Curragh of Kildare". "Lady With a Fan" was originally written by Grateful Dead, and because of the very original interpretation and beautiful gripping harp melody, it is one of my personal favourites on this album. "Isle of Islay" was first recorded by Donovan in this cover is the only one that stays relatively faithful to the original in terms of melody and atmosphere. Both versions are beautiful, by the way. "Porpoise Mouth" is another 60s/70s cover, and this time of a song by psychedelic band Country Joe & The Fish. Prydwyn has given it a twist of his own, turning the song into a pretty ballad. Also the beautiful and serene "Pat's Song" was originally by Country Joe & The Fish. "See Emily Play (Games for May)" is an adaption of the same song by Pink Floyd. The song is stripped of all the bombast that came along with the first version, leaving only the core melody on harp and cello, which makes for a very calm and sensitive track. A cover very well done! Next up is the long "The Witch in the Well", an own composition and very rockish compared to the other tracks, with not the harp, but acoustic guitar as a base. It's remarkable that this song is much closer to the atmosphere of the 60s and 70s than the cover tracks. In any case, this track is just as good and entrancing as the others. The Witch in the Well closes off with a traditional song, a remix of the calm "Fhir a' Bhàta", which also appeared on Prydwyn's earlier album At the Feet of Mary Mooncoin. This track appears exclusively on the MP3 version.
Overall, this is a very diverse album, with engrossing and varied tracks. Almost all tracks on The Witch in the Well are adaptions of other artists, but this is done so idiosyncratically that the music gets a very unique character. The only downside I could come up with is the nasality of Prydwyn's voice. Personally, I don't mind it at all, but I can imagine it might put off some people.
Olvardil Prydwyn and Diana McFadden is recommended to anyone who likes original pagan folk and is also interesting for non-pagans. Besides that, fans of abovementioned bands might give this a listen, if they're open to a vastly different interpretation of the tracks. Also, fans of Loreena McKennit are advised to give this excellent album a chance.
D.M.K.