detailed info: discogs.com [Drift, Passages, Incest Songs, The Complete Collection]

Some sublime works of art just [...]]]> artist: M.J. Harris & Martyn Bates
release: Murder Ballads (Drift, Passages, Incest Songs)
format: 3x CD
year of release: 1994 (Drift), 1997 (Passages), 1998 (Incest Songs), 1998 (The Complete Collection)
label: Musica Maxima Magnetica, Invisible
duration: 63:24, 55:30, 59:07

detailed info: discogs.com [Drift, Passages, Incest Songs, The Complete Collection]

Some sublime works of art just pass under the radar for no apparent reason, while for others, it’s pretty obvious why they never reached a wide audience. The Murder Ballads trilogy put together by Mick Harris (Scorn, Lull, Napalm Death) and Martyn Bates (Eyeless in Gaza) is, at least to me, an example of the latter category. Who would want to listen to gruesome folk songs, their words ponderously sang by Bates and stretched to their durational limit, accompanied by the darker than black isolationist ambient soundscapes laid down by Harris? Twelve such ballads are presented in quartets, taking almost fifteen minutes on average each, for a total of nearly three hours of, well, utterly unsettling and gloomy music.

The first part of the series was released in 1994, and entitled Drift. Like each album, it contains four separate ballads, the first of which is “The Death of Polly”, in which a man named Willy leads astray Polly with the promise of marriage, and some “fun” before. In actuality he leads her to a freshly dug grave and stabs her to death, leaving only the “wild birds to moan”. In the second ballad, “The Fowler”, a young man accidentally shoots his true love in the guise of a swan while out hunting. “Lucy Wan” is a horrifying tale of an incestuous relationship (or rape) that leads to a brother killing his sister Lucy, and subsequently leaving home, presumably to commit suicide:

O what will you do when your father comes to know
O my son, come tell to me
O I will set foot in a bottomless boat
and I will sail the sea

And when will you come back again
O my son, come tell to me
When the sun and the moon dance on yonder hill
and that may never be

The last track is “Long Lankin”, an oft-sung classic about Long Lankin and the False Nurse, who conspire to kill a lady and her child while the lord is away from his house.

Throughout all this, Bates sticks to his own setting of the traditional melodies, delivered sometimes softly, sometimes at full volume, with his powerful and unmistakable high emotive voice. Harris’ ambient backing subtly reinforces the cadence of the song with deep, slowly pulsating drones, and fills in the gaps between verses with melodic accents and effects. Ample time is taken to draw out each verse and melody, which gives all of the music a ponderous and slow passing. Though it might take some time to settle into this rhythm, ultimately it allows the listener to take in both the narrative of the ballads and the delicately layered instrumental and vocal melodies, which are unique for each song.

This mode continues throughout the second album Passages, and the final one, Incest Songs. Number two contains “The Bramble Briar”, about two brothers who kill the lover of their sister because he is a servant; “The Cruel Mother”, who kills her two unwanted babies in the forest, only to find them returned later to the porch of a church, where she is cursed by them; “The Banks of Fordie” tells of three sisters ambushed by a robber, who asks each of them to be his bride or die. He kills two of the sisters, but the third one reminds him of the damnation in store for him, and he takes his own life instead; “The Murder of Maria Marten” closes the second album, a particularly graphic story similar to that of “The Death of Polly”. Incest Songs, as the title indicates, is the only album with a unifying theme apart from murder, and all four songs have the forbidden love between brother and sister as its theme, a situation where both parents and children often end up at the wrong end of a knife.

As I stated earlier, the thematics of these traditional folk songs are not that easy to swallow, especially when compared to the relatively flighty and upbeat themes of most of today’s popular music. However, students of these traditions and similar ones like folktales, fairytales and urban legends, will realise that they serve the unique purpose of thrilling the listener and warning of possible hostile intentions of others, and of the possible tragedy lurking behind some cases of murder. A touching example is that of “The Bonny Hind”, where the incestuous brother and sister at the time do not know they are related. Only later do they discover this, with disastrous results.

The coupling of these themes with a slow and deliberate recounting, and quite oppressive (though beautifully composed) dark ambient music – instead of the traditional a capella or acoustic-instrument renditions – makes this album series a unique piece of art, and one that despite the differing origins of its two musical modes comes out of the woodwork perfectly. Rather than feeling as a random combination, this pairing sounds as natural as a traditional interpretation of ballads might. To me, this is what makes folk so exciting: artists infusing traditional material into their own vision, giving birth to something new. In the case of Harris and Bates’ Murder Ballads, the result is an utterly unique and essential work that appears to have been under-appreciated during the roughly 15 years it has been out there. I gave some reasons in the beginning for why this is understandable, but here is a heartfelt call to all readers to dive in and (re)discover this masterpiece. There are infinitely worse ways to spend a rainy afternoon.

Reviewed by O.S.

Tracklist:

Drift
1. The Death Of Polly (14:09)
2. The Fowler (18:32)
3. Lucy Wan (14:39)
4. Long Lankin (16:05)

Passages
1. The Bramble Briar (13:27)
2. The Cruel Mother (11:24)
3. The Banks Of Fordie (13:07)
4. The Murder Of Maria Marten (17:33)

Incest Songs
1. The Bonny Hind (12:11)
2. Sheaf And Knife (12:07)
3. The Two Brothers (17:09)
4. Edward (17:41)

detailed info: discogs.com

A lot of alternative music is very specific to a certain scene, genre, or style, where the rules are clear and everyone – that is, the insiders – knows what to expect. Sometimes, though, albums [...]]]> artist: Skepticism
release: Lead and Aether
format: CD
year of release: 1997
label: Red Stream
duration: 47:46

detailed info: discogs.com

A lot of alternative music is very specific to a certain scene, genre, or style, where the rules are clear and everyone – that is, the insiders – knows what to expect. Sometimes, though, albums are released that, while informed of the rules, don’t exactly play by them. The result can be interesting and innovative music that defies, at least to a certain degree, traditional genre boundaries.

One such album is Lead and Aether by Finland’s Skepticism. Originally released in 1997, it was the band’s second full length album. In many respects, it builds on musical foundations laid in their 1995 debut Stormcrowfleet; at its core, the band’s music is rooted in heavy metal, and more particularly the crossovers between doom and death metal that came into being in the early nineties. They pioneered what would become known as funeral doom, characterised by its solemn and mournful atmosphere, and taking to the extreme the doom metal axiom of “slow and low”.

While Skepticism have been at the forefront of this style, and hugely influential on later bands, the unique sound created in these early works stands by itself. More so than practically every other band in this movement, Skepticism managed to modify the traditional metal band setup and sound, and create music that has recognisable roots, but a crown that explores new skies. In principle a quartet, the music is based on drums, guitar, synth/organ, and vocals. The bass guitar is absent, and while distorted and modified, the electric lead guitar is less dominant than in most other metal music. Instead, the synth and organ provide a deeper layer to the music. The drums, played on kettles at least one size bigger than most usual setups, are true to the genre but with an original execution: slow, solemn, with an emphasis on subtle timpani-like percussion and swirling cymbals. The vocals, finally, are a death metal growl obscured to a point where it often resembles a surge of breath or a wave, rather than anything more sinister.

Apart from original instrumentation, the album offers the listener a great deal in terms of structure and songwriting. It opens with the final organ chords of the introductory EP Ethere, and launches into “THE ORGANIUM”, a deep piece as heavy as its typography, that introduces the two central lyrical themes of the album: metal and air, an alchemical whole that ties many elements of the music together. Air and metal are what powers and constitutes the organ, and it also represents the heavy and light in the music, solidity and evanescence.

The second track, a reworked version of the one that appeared on Ethere, is “The March and the Stream”, one of funeral doom’s canonical songs. Indeed, of this album, it is this mournful masterpiece that lies closest to the stylistic norm of genre. How different, then, is “The Falls”, a masterpiece in its own right. It is mystical, hopeful, deep, expressing directions of thought (wandering, hope, despair, introspection, mysticism) in the lyrical guise of three different (water)falls. The music itself is of an elegant simplicity, perfectly balancing different guitar and synth sounds, flowing drums, and vocals like drifting clouds. Central to the song is a delicate melody, doubled and shifted, positioned so greatly that it sucks you deeper into the song, which ends in a way that is as majestic as it is emotionally ambiguous.

The second half of the album contains much to enjoy as well. There’s the once more aptly named “Forge”, a powerful rolling track that really sounds like the inside of an alchemical metal workshop. “-Edges-” is more obscure, emphasising floating melodies and atmospheres that are more esoteric than any else. “Aether”, finally, is calm and serene most of the time, bringin the album to a most satisfying conclusion.

There are a couple of factors that make Lead and Aether a hugely important album. First of all, it shows the band at the pinnacle of its craft. The debut album pioneered Skepticism‘s sound, but this one combined it with more sophisticated songwriting, eclipsing that of much of their later work, with some exceptions. It also, along with surrounding releases, proved massively influential for the small but not insignificant funeral doom genre. Most importantly, though, it shows how a genre’s (in this case heavy metal’s) basic assets can be taken, hammered, forged, transformed, yielding wholly new results and a different listening experience. It’s base metal, aether, and somewhere in the grey mists, a hint of gold.

Reviewed by O.S.

Tracklist:

1. THE ORGANIUM (6:41)
2. The March And The Stream (10:35)
3. The Falls (8:43)
4. Forge (5:50)
5. -Edges- (6:11)
6. Aether (9:49)

artist: Ulver release: Blood Inside format: CD, LP year of release: 2005, 2010 label: Jester, The End, Profound Lore duration: 45:56

detailed info: discogs.com

I admit it, I was totally wrong about this one. A couple of years ago, when I wrote about Ulver‘s 2007 opus Shadows of the Sun, I claimed [...]]]>

LP cover

artist: Ulver
release: Blood Inside
format: CD, LP
year of release: 2005, 2010
label: Jester, The End, Profound Lore
duration: 45:56

detailed info: discogs.com

I admit it, I was totally wrong about this one. A couple of years ago, when I wrote about Ulver‘s 2007 opus Shadows of the Sun, I claimed I didn’t like Blood Inside much, based upon some brief impressions from back when it came out in 2005. I guess I really didn’t, at the time. But, as the wolves themselves quoted William Blake in 1998: “The man who never alters his opinion is like standing water, & breeds reptiles of the mind.” So, when after a stellar show by the band in Tilburg last February I passed the merch stand and I saw a nice LP reissue of the album, I couldn’t resist giving it another try. Whatever the reasons, it did click with me this time, and for me it stands as one of the band’s finest albums from now on.

Compared to most of the band’s work since 2000, Blood Inside is perhaps a bit difficult to get into. Gone are the soothing soundscapes and jazzy urban electronica that came before, and what we hear is a partial return to a peculiar hybrid of experimental rock and electronics that is at first quite demanding of the stylistic sorting machine inside each of us. This, though, is precisely where the strength of this album is situated: the vision and daring to make uncompromisingly original music, a quality reserved for only a select number of great names in music.

“Dressed in Black” opens up the album relatively gently, with a slowly striding rhythm, emphasising bells and cymbals, single tone synth backing and the subtly edited vocals of Kristoffer Rygg. Without being intrusive, many effects and instruments are piled on top of this, slowly bringing the song to an intense climax. This segues perfectly into “For the Love of God”, just the first of many highlights on this album. It combines a swaggering rhythm with solid bass synth backing into a song that is incredibly innovative in style, but as catchy as any refined pop song would be. It’s even got a refrain and a guitar solo…  The same goes for “Christmas”, based on a poem by Fernando Pessoa, which ramps up the tempo and intensity a bit more. The end of this side of the LP is formed by “Blinded by Blood”, a calmer track of layered ambiances, presaging the style that would come to determine much of the sound of Shadows of the Sun. It gives Rygg’s voice some more chance to shine, and forms a moment of calm before we embark on the second half.

CD cover

And that one starts with “It Is Not Sound”, a track that was also used for the accompanying video on the enhanced CD release [YouTube]. The track takes a number of cues from J.S. Bach, in an original way that detracts neither from this track nor from the original compositions. Tradition and innovation are entwined as they were meant to here. The song moves from a rocking first half that contains the words to a coda consisting of a spacey toccata rendition in synth and drums. The album delves into even deeper and darker territories with “The Truth”, which features some fast freestyle drum parts and a gloomy mood.

We’re two-thirds through the tracks, and a little interlude about the lyrics might be appropriate. In contrast to the relatively simple contemplative themes on Shadows of the Sun and the folkloric and religious material of the albums from the nineties, Blood Inside is again a tough nut to crack. Colour plays a strong role: the virgin white and blood red are prominent, with both having particular significance in religion as well. The same goes for truth and sound, not to mention the places where god and grace are mentioned literally.

With this forethought, then, we enter the last trinity of tracks. “In the Red” is, first of all, a genuinely swinging track, again forming a perfect synthesis between cutting edge electronica, rock, and samples of music from yesterday. The way in which vintage string and brass samples are incorporated into this song is simply perfect. And then, the lyrics again. It seems we turn to the colours of this album in some of their most tangible senses: the red blood flows from our veins onto the earth, and we are rushed into a hospital. As time is running out, we are enveloped by the hospital’s “great white”, while the trumpets dance a final merry striptease. Our status is critical, and without sound, we try to call for help. As “Your Call” tells us, though, “no one answers the phone”. This track, in its sublime interplay between soothing calm and threatening intensity, is one of the best tracks Ulver have ever produced, if not the best. The call metaphor is expressed in the pulsating sounds of the second half of the track that pierce right to your marrow, and finally made concrete in the ringing that sounds out the track, our lifeline dangling loose in the air. Are we beyond help and is this going to be the end, or is someone going to pick up? Yes, it’s the “Operator” over in emergency. Drums, bass and wild samples thunder over us as we are thrown into the last frantic rush before the end. Guitar solos and rhythmic eruptions are all over the place, as the vocals attempt to keep things together a bit, like the surgeons fighting for our life. Do we make it through in the end? Who knows… “please be patient, hold the line”.

These last three tracks in themselves – the quality of the rest of the album notwithstanding – are perhaps the most important of them all. Not only do they form a virtuoso musical rendition of a desperate fight for survival in the hospital, if we take into account the broader themes of the album, we realise it might all refer to more lofty issues as well: our search for truth and meaning in life. Perhaps “truth is a hospital”, and as patients, we are all struggling to survive, trying to make sense of the sounds and words, the light and dark. It is a massive feat to raise such issues in an album that manages to be musically innovative as well.

To compare Blood Inside directly to Ulver‘s other albums would be a mistake. They are all so divergent in style, and many stand as classic releases in their own playing field, having sparked a whole specific style like Kveldssanger and the other albums in The Trilogie, or simply by being very good, like almost all of the others. Blood Inside, though, might be the best in terms of forming a self-contained whole that stands miles apart from practically all other music. In this sense, it reminds me of seminal releases by industrial pioneers like Foetus, Coil, Current 93, and Einstürzende Neubauten. Thankfully, roughly twenty years after the groundbreaking releases by these bands, we are still occasionally presented with albums that push the envelope like that, though not as often as we’d like. Blood Inside is definitely one of them though, a landmark in modern music.

Reviewed by O.S.

Tracklist:

1. Dressed In Black (7:06)
2. For The Love Of God (4:11)
3. Christmas (6:15)
4. Blinded By Blood (6:23)

5. It Is Not Sound (4:37)
6. The Truth (4:02)
7. In The Red (3:31)
8. Your Call (6:07)
9. Operator (3:37)

detailed info: discogs.com

Few albums can be said to have had such an influence on a typical style of music as Ulver‘s Kveldssanger. Released in 1995 as the second instalment in the band’s [...]]]> artist: Ulver
release: Kveldssanger
format: CD
year of release: 1995
label: Head Not Found
duration: 34:33

detailed info: discogs.com

Few albums can be said to have had such an influence on a typical style of music as Ulver‘s Kveldssanger. Released in 1995 as the second instalment in the band’s Trilogie influenced by Norwegian folklore, it has become a seminal album in the area of dark acoustic and neofolk music, and a typical example of what happens when musicians who play metal predominantly turn to an acoustic style, and do it well. The album is positioned between Bergtatt: Et Eeventyr i 5 Capitler – which combined black metal with acoustic elements and unique choir-like vocals – and Nattens Madrigal: Aatte Hymner til Ulven i Manden – an extremely raw slab of black metal and ambient interludes. But, the album found its definite home as part of The Trilogie – Three Journeys Through The Norwegian Netherworlde, a limited box set from 1997, which collects all three ‘dark folklore’ albums on picture LP.

The album contains a unique combination of classical guitar play (by Håvard Jørgensen) and layered vocals (by Garm / Kristoffer Rygg), spread over thirteen tracks, including some instrumentals or only featuring wordless vocals. In some places, some cello (by Alf Gaaskjønli) and flute complement the basic guitar compositions. The themes are always drawn from dark folklore and nature mysticism, however, to which the titles bear witness. The album name itself translates as evening songs (or, as presented by the band, twilight songs), a perfect summary of the atmosphere. Add to that the following, only a small part of the references: “Østenfor Sol og Vestenfor Maane” – East of the Sun and West of the Moon, a familiar theme from a Norwegian fairytale, as collected by Peter Christen Asbjørnsen and Jørgen Moe; “Naturmystikk” – Nature Mysticism; “Klædt i Nattens Farver” – Clad in the Colours of Night. The album itself, unlike the two other albums from the trilogy doesn’t seem to tell a continuous story though; Kveldssanger is simply a collection of impressions taken from the same world as the other two, one that has a firm place in Norwegian culture, admirably depicted by visual artists like Theodor Kittelsen, but also the ladies responsible for the art on these Ulver albums: Maria Jacquete for Kveldssanger and Tania “Nacht” Stene for the other two.

This “Norwegian Netherworlde” is a mystical land situated in the wilderness, obscured by civilisation, but lurking in different guises in the far corners of every people’s culture. A place where nature shows both its darker and lighter sides. More musicians have attempted to draw on these themes, particularly on the dark side, but one always runs the risk of descending into kitsch or an infantile beautification of ‘evil’. Indeed, many of these musicians seem to have failed in walking this precarious conceptual tightrope. Granted, even Ulver itself at times violates this border in their distinctly ‘kvlt’ liner notes to these first three albums. In the music however, a perfect balance comes forth, where nature and folklore are allowed to display the many faces they present to the human observer: sad, hopeful, melancholy, grim, profound…

As said, Ulver‘s first three albums form a thematic and musical whole, and to be sure, Kveldssanger should not be seen as separaten from the other two, both of which are classic albums in their own right. However, of these albums, Kveldssanger can be said to have left the biggest mark on dark music since then. It is hard to imagine the music of projects like Vàli, October Falls, Musk Ox, Empyrium, etc. without this milestone. Indeed, many of these musicians would not pretend otherwise. While many have emulated this style however, some quite felicitously I might add, I have yet to hear an album that truly matches Kveldssanger in all its honesty, refinement, and originality.

Reviewed by O.S.

Tracks:

I. Østenfor Sol Og Vestenfor Maane (3:26)
II. Ord (0:18)
III. Høyfjeldsbilde (2:15)
IV. Nattleite (2:11)
V. Kveldssang (1:32)
VI. Naturmystikk (2:56)
VII. A Cappella (Sielens Sang) (1:26)
VIII. Hiertets Vee (3:55)
IX. Kledt I Nattens Farger (2:51)
X. Halling (2:08)
XI. Utreise (2:57)
XII. Søfn-ør Paa Alfers Lund (2:38)
XIII. Ulvsblakk (6:56)

detailed info: discogs.com

If there is one album that satisfies the criteria of dark and experimental, it has to be deathrock legend Rozz Williams‘ (1963-1998) The Whorse’s Mouth. An album – and a project – [...]]]> artist: Rozz Williams
release: The Whorse’s Mouth
format: CD
year of release: 1996
label: Hollows Hill Sound Recordings
duration: 60:24

detailed info: discogs.com

If there is one album that satisfies the criteria of dark and experimental, it has to be deathrock legend Rozz Williams‘ (1963-1998) The Whorse’s Mouth. An album – and a project – that never got the attention it deserves, in my opinion. Usually, most attention goes to (goth/death)rock projects like Christian Death and Shadow Project. Maybe this is one of the reasons why this album appears to be forgotten: The Whorse’s Mouth contains all sorts of influences and sounds, but certainly no run-of-the-mill deathrock or gothrock. I can’t think of a better definition for this album than the aforementioned dark and experimental; the album wavers between dirty industrial and noise-like tracks like “Raped” and “Best of the Breed” and breathtakingly beautiful, but also very melancholic tracks borne by piano, various classical instruments and sound effects like “A Fire of Uncommon Velocity” and “Dec. 30, 1334″. It’s certainly one of the more original albums in my collection; extremely varied, with well-composed songs.

Although the name of the project suggests otherwise, the tracks and lyrics on The Whorse’s Mouth are not written by Rozz Williams alone, but also by the various musicians who collaborated on the project: Erik Christides, Ryan Gaumer, Paris, en Erik Freeman. Additionally, Christian Omar Madrigal Izzo plays drums on “Best of the Breed” and “Who’s in Charge Here”, and Anne Marie plays the beautiful violin parts on “A Fire of Uncommon Velocity”. All in all a quite intimate collaboration, and not a real solo project.
On all tracks we hear Rozz reciting the lyrics with his characteristic soft voice. These lyrics are very original and remind me of a strange mix between modern poetry and apocalyptic visions. The lyrics are composed poetically, and meaning, rhythm, word association and all kinds of rhyme and metaphors blend into each other. This is best illustrated by a short example:

(from “Best of the Breed”)
I would enjoy hanging you more than staying in this circle of love and danger
a murderous plot played out in vague extremes
Stick those pointed prongs strong
Pierce any heart that might annoy you
No sacramental goat protrudes in blind
with draw all – kill it now or forgive the
holy gown cow stun pun, doesn’t it all run in vein?

The artwork fits this kind of lyrics perfectly: estranging collages with many kinds of references, made by Williams and Christides. The music itself also forms a rich collage of sounds and atmospheres. The album starts with “Temptation”, a track with a subtle mid-tempo rhythm en various sound effects, and in the foreground Rozz, of course, who recites a piece of The Lord’s Prayer, among other things. I think “Raped” is the most conspicuous track on the album. Through the combination of a happy TV tune and a disturbing sample, it becomes a musical expression of one of Rozz’s collages, which also often contain elements from popular culture combined with unsettling images and messages. The most beautiful track on the album, and one of the most beautiful I know in general, is “A Fire of Uncommon Velocity”. It is the first track on The Whorse’s Mouth in this style: a hauntingly beautiful piano melody, accompanied by atmospheric violin and strong lyrics. Perfect for cold winter nights by candlelight. “HER Only sIN” is also remarkable. A relaxed rhythm and bass melody, recurring sound effects and piano accents that structurise the track, and lyrics that seem to relate the downfall that accompanies heroin addiction. “A Brother of Low Degree” has the same relaxed sound. “Dear Skin” starts off beautifully with piano and violin, changing halfway into calm, repeating effects. The lyrics themselves, by the way, are often rather crude and raw, and it could just happen that you’re listening to a serene melody with Rozz going on about “condescending fuckholes” at the same time. The last fine, but very sad piano song is “Dec. 30, 1334″, with some more great piano lines, this time accompanied by rather prominent bass. The lyrics are a goodbye to and sad recollection of life. The album closes with the heavy, noise-like “Best of the Breed”, a track with a lot of distortion and a repeating high beep which again shows the diversity of this project.

The lyrics and dark atmosphere bind all tracks together and create a unique mood. I for one don’t know any other albums like it by other artists. Closest is perhaps something like Nico, but mostly because that is also dark and unique music. The Whorse’s Mouth is a deep album on which many discoveries can be made – it certainly deserves to be more well known!

Reviewed by D.M.K.

Tracklist:

1. Temptation (5:35)
2. Life is but a Dream (5:01)
3. Raped (4:38)
4. Who’s in Charge Here? (Beneath the Triumph of Shadows) (3:56)
5. A Fire of Uncommon Velocity (5:47)
6. HER Only sIN (4:58)
7. Interlude (2:02)
8. A Brother of Low Degree (6:06)
9. Dear Skin (4:58)
10. Maggot Drain (3:56)
11. Dec. 30, 1334 (8:58)
12. Best of the Breed (4:29)

artist: Martyn Bates release: Mystery Seas (Letters Written #2) format: CD year of release: 1995, 2005 label: Ambivalent Scale/World Serpent (1995), Shayo (2005) duration: 58:32

detailed info: discogs.com

Martyn Bates has been active as a singer, lyricist and musician since the end of the 1970′s. He is most recognised for his [...]]]>

Original 1995 Cover

artist: Martyn Bates
release: Mystery Seas (Letters Written #2)
format: CD
year of release: 1995, 2005
label: Ambivalent Scale/World Serpent (1995), Shayo (2005)
duration: 58:32

detailed info: discogs.com

Martyn Bates has been active as a singer, lyricist and musician since the end of the 1970′s. He is most recognised for his work in the alternative rock group Eyeless in Gaza, and neofolk lovers might know him as one half of Twelve Thousand Days. Even ambient lovers might know him through his collaborations with people like Mick Harris and Troum. No matter what kind of music you are here for, chances are Bates has been doing it. Besides all this though, Bates has had an extensive solo career, releasing over ten albums and EPs over the past three decades. And though it is difficult to pick an album from this mostly excellent discography, Mystery Seas is definitely one of his best albums, and a unique one within alternative music in general.

As is always the case, the music revolves around Bates’ magnificent voice and lyrics, but the instrumental backing differs from album to album. In this case, he has stripped it down to melodies and waves on organ and synth, eschewing for example the banjo that coloured the following Imagination Feels Like Poison album. The result is a varied collection of songs, sometimes relaxed and dreamy, and sometimes more urgent. Examples of the latter are “Imagination Feels Like Poison” (not to be confused with the album of the same name, which contains – what else – a track called “Mystery Seas”) and “You, Looking to Me for a Sign”, which both are quite uptempo, with a driving force coming from the melodic backing. The climax of this style is perhaps the excellent “Over the Waters”, which combines intense, desperate vocals with an appropriate synth and piano backing.

2005 Reissue Cover

At the same time, the album has its more calm side, in many different ways. At times melancholic, like on “Everywhere There’s Rain”, or more dark and brooding, like “Calm of Dark” and “Of Night”. But perhaps best are the short, dreamy tracks “Trade Winds” and “Midday Coming Misty”. In less than three minutes each, they manage to present most clearly the sublime way Martyn combines voice, melody and words. Despite picking out a few tracks here, the whole album is totally consistent in its quality and emotion, something that truly makes this a great piece of work.

A large part of the lyrics (or rather, poems, because they truly are that) are from the early 80′s, hence the subtitle Letters Written #2, which refers to Bates’ EP from 1982, which contained other lyrics from the same period. In addition there are a few new pieces from around the time of release of this album. All of the writings share a certain level of quality, though. Bates’ poetry, like the music, is often melancholic, dreamy, metaphoric, and very good.

Though I hesitate calling this Bates’ best album, as they are often quite different and difficult to compare, it’s certainly one of the best. It was a good choice by Shayo records to re-release this last year (with new artwork and mastering), as perhaps it will help gain this album and artist a new audience. This is surely deserved, because Martyn Bates sadly remains an under-appreciated singer and artist. Albums like this have a certain timeless quality about them, difficult to categorise, with roots in folk and alternative music. I’d like to compare this album to Nico‘s solo works. Though both artists have a very different approach and atmosphere, they have in common that they present song in one of its purest forms, and with a dark touch to it. Mystery Seas is a wonderful album that every one of our readers should give a chance.

Reviewed by O.S.

Tracklist:

1. You, Looking to Me for a Sign (5:06)
2. Shorepoem (4:19)
3. Calm of Dark (5:29)
4. Imagination Feels Like Poison (5:18)
5. Trade Winds (2:32)
6. Over the Waters (4:52)
7. Everywhere There’s Rain (4:51)
8. Empty Pages (4:28)
9. Midday Coming Misty (2:53)
10. On the Beach at Fontana (2:15)
11. Sky After All (4:53)
12. Fragment (Little Star #1) (1:37)
13. If I Could See in Everyone (3:10)
14. Of Night (5:48)
15. Gift (1:00)

2009 Re-release

artist: Werkraum release: Unsere Feuer Brennen! format: CD year of release: 2004, 2009 label: Cold Spring Records duration: 50:02

detailed info: discogs.com

I didn’t care much about this so called “neofolk” music that flushed like a wave over Europe some years ago. I had my favorite albums with Death [...]]]>

Original Cover

2009 Re-release

artist: Werkraum
release: Unsere Feuer Brennen!
format: CD
year of release: 2004, 2009
label: Cold Spring Records
duration: 50:02

detailed info: discogs.com

I didn’t care much about this so called “neofolk” music that flushed like a wave over Europe some years ago. I had my favorite albums with Death in June, Sol Invictus and Current 93. The new bands that started to pop up were nothing but pale copies for me. I was totally convinced that the experimental folk era had reached its top long ago. And then I heard Werkraum. I can’t really recall how I first was introduced to them or what it was that made me buy their debut album Unsere Feuer Brennen!. It could have been the album’s cover art that first took my attention. I still consider this to be one of the most beautiful album covers out there; pretty simple without any text – it truly puts the lion killing horsemen in the centre. But this album is so much more then just a nice cover. It contains 11 of the most true and strong songs that had been released for a very long time.

Werkraum‘s main brain is in the head of the Berliner Axel Frank. Obviously a very competent musician. He is also backed up by some friends from various bands. Jason Thompkins from Harvest Rain and Nick Nedzinsky of Lady Morphia fame. There is also a woman in the collective named Antje Hoppenrath. I’ll return to these musicians later on.

“Nocturne” is the first song out, a very moody neoclassical song with a deep male speech underneath. It’s the only track with English lyrics and the lyrics are actually adapted from a poem by John Dowland, but who reads them here is not told.
It’s a very nice way to open this album. Bombastic and pompous intros can often be rather boring. If they aren’t badly composed they are usually far too long to be enjoyable, but “Nocturne” does not suffer from those symptoms at all.
After the intro fades out, “Die letzte Jagd” starts, a track written after all unwritten rules of neofolk songwriting together with Lady Morphia. Simple guitar playing, snare and tom drums are joined by a trumpet in between the verses. But what makes “Die letzte Jagd” such a remarkable song is both the fact that it has a very catchy melody and Axel Frank who shows that he’s not only a great musician but also a splendid singer.

Next up is “Chanson de la plus haute tour”. It’s a much calmer song, somewhere between psychedelic and medieval acoustic folk. Antje sings a poem by Arthur Rimbaud translated into German and this woman has to be properly schooled in singing… What a voice! And WHAT a song! I can’t get enough of this. I can play it on repeat for hours and every time the chorus comes, where Antje and Axel sing in duet, I get pleasant shivers down my spine.
For the sake of balance, track four (“Einsamer nie”) is quite unremarkable. Swirling organs and twisted voices in a futuristic neoclassical way. The fifth track (“Legion”) on the other side is another masterpiece of neofolk, a bit slower than “Die letzte Jagd” but just as good if not even better. The disturbed electric guitar in the background fascinates me. And so does, once again, Alex’s singing.

Now, after five more or less perfect songs, you might believe that the album loses strength. If you do, you are so wrong. “Steh Auf Nordwind” is an instant hit. From the bells in the beginning to the fade out in the end. A perfect neofolk song! If the other songs were catchy I don’t know how to explain this one. It relies more on the electric guitar than the acoustic, which was a completely new, but not in any way unpleasant way of playing neofolk for me. You might need some time to melt what you just heard and to do that during “Dignitas Dei” – another of those experimental ‘in between’ songs without any proper structure and lots of futuristic sounds, is a good idea. Even though this one is better than “Einsamer nie” it still is better seen as a filling between the songs than an actual song of it own. When the previous song is melted you can start preparing yourself for the next attack. “Ewigland” is a collaboration song with Harvest Rain and if you have heard Harvest Rain before you know what to expect. Very desolate. Makes you feel strange in some way. Jason Thompkins’ characteristic guitar playing is backed up by Alex’s voice and snare drumming and all this creates another song to remember.
Yet another neofolk song follows, “Heilige Krieg”, “Hohezeit” – moving more towards the medieval sound with Antje behind the microphone again, and finally the outro “Civitas Dei” with a proud martial feeling to begin with and a spacey drone at the end.

So why does Unsere Feuer Brennen! deserve an Eclipse rating? Simple. It’s a masterpiece album. It stays very personal even though the guest artists have left their own traces.
A formidable debut release from a band that can take what turn they want and still have my full support and respect. This is the album that made me realize that neofolk is more than the World Serpent oldies and with that opened my eyes to a completely new world of the new wave of dark folk music.
50 minutes and three different styles of the best neofolk sounds in one album makes this a must have for everyone. Thank you.

Reviewed by CME

Tracklist:

1. Nocturne (2:17)
2. Die Letzte Jagd (4:13)
3. Chanson De La Plus Haute Tour (4:04)
4. Einsamer Nie (4:23)
5. Legion (5:50)
6. Steh Auf, Nordwind! (3:33)
7. Dignitas Dei (5:34)
8. Ewigland (4:04)
9. Heilige Krieg (4:46)
10. Hohezeit (3:32)
11. Civitas Dei (7:46)

detailed info: discogs.com

Väre was Tenhi‘s second full length album, and one that showed that the band had progressed strongly since Kauan and the airut:ciwi EP. Although those two releases were already rather good, and showed that the band had [...]]]> artist: Tenhi
release: Väre
format: CD, LP
year of release: 2002
label: Prophecy
duration: 57:39

detailed info: discogs.com

Väre was Tenhi‘s second full length album, and one that showed that the band had progressed strongly since Kauan and the airut:ciwi EP. Although those two releases were already rather good, and showed that the band had a unique style, Väre proved that the band was able to refine their skills as musicians and songwriters. The album shows a great variety of moods and sounds, yet it is all unmistakably recognisable as the work of Tenhi. To my knowledge, there are few, if any, artists who even come close to the sound of these Finns, perhaps best described in their own words: “folk-influenced progressive music”.

The album starts off with the mysterious “Vastakaiun”, carried by flute, strings, wonderfully sounding drums, and the typical dirge-like vocals. The more upbeat “Jäljen” shows how naturally Tenhi switches between different moods, without sounding out of place. “Vilja” is another beautiful track, with a calm melody richly worked out in guitar and vocals, and a lovely flute solo near the end. And see, there I go again, trying to describe all tracks individually, because they are just so good. A few other parts I just have to name: the eponymous instrumental “Tenhi”, which is a beautiful reworking of the track that originally appeared on the Kertomuksia demo from 1997. Then there’s the ritualistic tribal sounds of “Varis Eloinen”, with the deep harmonious vocals, and hand drums, later dominated by guitar. The album ends with the beautiful “Kuolleesi Jokeen”, a representative of the simple but great guitar ballads that band also makes.

I think there’s also something magic about the lyrics of the band. To a foreigner, a language like Finnish may easily sound poetic, but the English translations reveal that Tenhi is profoundly inspired by elements of nature and weather, as well as melancholic and folk atmospheres. As always, the artwork is fitting, and on this album, for the first time, the band introduced an own take on the booklet. It is small, with white and black print on thick grey paper, displaying both the lyrics and photographs, which gain a unique character through the limited use of colour.

It is safe to say that this is a superb album by what I think is one of the most interesting bands of today. If you’re new to Tenhi and you are just getting into their latest masterpiece, Maaäet, don’t forget to look at its predecessor. If you haven’t heard the band at all, please do so, and this album will be a perfect introduction. Truly worthy of eclipse status, in short, and highly recommended to everyone.

Reviewed by O.S.

Tracklist:

1. Vastakaiun (7:58)
2. Jäljen (4:54)
3. Vilja (4:59)
4. Keväin (2:24)
5. Yötä (5:26)
6. Suortuva (7:01)
7. Tenhi (6:14)
8. Sutoi (5:54)
9. Katve (3:08)
10. Varis Eloinen (6:37)
11. Kuolleesi Jokeen (3:04)

detailed info: discogs.com

Ryuichi Sakamoto is a Japanese composer, who is mainly known from his award-winning film soundtracks (like The Last Emperor and Merry Christmas Mr. Lawrence), and his work with the band Yellow Magic Orchestra. Discord is [...]]]> artist: Ryuichi Sakamoto
release: Discord
format: CD
year of release: 1997, 1998
label: Sony Classical
duration: 54:41

detailed info: discogs.com

Ryuichi Sakamoto is a Japanese composer, who is mainly known from his award-winning film soundtracks (like The Last Emperor and Merry Christmas Mr. Lawrence), and his work with the band Yellow Magic Orchestra. Discord is a relatively recent solo album, built around a specific concept, where Sakamoto collaborates with DJ Spooky, David Torn and “The Orchestra”.

There are many ways in which one could interpret this album, but our idea is that Discord is about mourning. First comes the honest grief, then the anger that follows, whereafter the letting go begins. The prayer, where one confides his or her powerlessness to a higher entity, and finally salvation, wherein the whole process culminates. Every movement has its own musical theme that is extensively explored and developed, which gives the album great coherence and clarity.

The album starts very peacefully, with the introduction of the main musical theme on strings. This is slowly developed with other instruments, while a dark undertone of double bass is added, and later church bells as well. The violins sound more and more thin, until the melody sinks away into a dark and chaotic piece. “Grief” ends serenely, with a soft new melody for the strings. The movement is a very powerful depiction of grief in all its aspects.

“Anger” is naturally a more aggressive movement. After the peaceful ending of “Grief”, we are startled awake immediately by the violent chaos that the orchestra displays. A rage that relentlessly repeats itself, after a while supported by a rumbling snare, which reminds of a train thundering past. Because of the repetition, this song seems to depict a sort of empty rage, a senseless scream out of powerlessness and frustration.

“Prayer” starts with a calm meditation on oboe, after which other woodwinds gently join in, and later on piano, strings and a soft but heavy drone in the background. Here and there, some effects and wisps of guitar can be made out as well. This movement is the most pure, because it exists entirely of a long development of the single peaceful theme, without deviating from it.

The final movement, “Salvation”, is not really a fixed concept, as the first three were, but more of a search for what salvation could be. All themes from the previous movements can be heard here, which makes for a nice wrap up of the entire album. However, there are also new elements, among which are recordings of people trying to explain what salvation means to them. It is unclear whether this search can truly be brought to a successful conclusion, for the musical ending is not unambiguously happy, to say the least. It could be depicting a return to chaos, to Discord, but one might as well interpret it as frustration over an unattainable salvation. The possibilities are endless.

Next to the musical side of Discord, there is also a multimedial side. The CD is listenable and viewable in your PC, where it is accompanied by a very worthwhile digital presentation. There is also an official website dedicated to the album, which contains all sorts of extra material: www.kab.com/discord. Discord is an extraordinarily beautiful album, which does not lend itself easily to comparison with other music on our site, nor with the work of other modern artists, or even Sakamoto’s other work. In any case, it definitely deserves a spot here, because it harbours a deep, dark dimension, that should be appealing to anyone with a wide orientation.

Reviewed by D.M.K. & O.S.

Tracklist:

1. Grief (17:37)
2. Anger (5:38)
3. Prayer (17:49)
4. Salvation (13:37)