Evening of Light

Review: Sieben – Star Wood Brick Firmament (2010)

admin — Sun, 22 Aug 2010 11:37:02 +0000

artist: Sieben
release: Star Wood Brick Firmament
format: CD
year of release: 2010
label: Redroom
duration: 49:42

It was a mere matter of time before the rising star of Sieben‘s oeuvre would be crowned by a new full-length album. Last year’s As They Should Sound saw Matt Howden looking to his back catalogue and restyling a selection of songs in a more current mode. Basically, Star Wood Brick Firmament works in that same mode: Howden unaccompanied and without frills, but with a series of brand new tracks.

Opener “Minack Theatre” and the beautiful “Build You a Song” show Howden at his most subtle: soft, flowing violin soundscapes with minimal looped percussion (also violin), and his still extremely pleasant and natural voice. But there is an excellent balance on this album as well, with tracks like “Long Live the Post Romantic Empire” and “We Wait for Them” emphasising once more how adept Howden is at constructing catchy up-tempo rhythms and song lines.

In this respect, Star Wood Brick Firmament is an excellent album, the Sieben sound more refined than ever. It is a sight better than the merely decent Desire Rites. Nevertheless, the strictly solo approach of the last two releases starts to rub against its borders here and there, and I can’t help but want to hear some guest artist or other in some spots, as on albums like Ogham Inside the Night and High Broad Field and some recent live appearances. The two remixes tacked on to this album, courtesy of Dark-hearted, are nice, but do little to alleviate this, and it wouldn’t have been a disaster either to’ve just ended the album with the incredibly catchy “Can’t Stop This”, maybe the closest Howden has ever got to a club hit.

Notwithstanding small gripes, this is yet another solid album by Sieben, arguably the best since High Broad Field. As such, it’s an essential buy for any fan of Howden’s work, and well worth checking out for everyone else as well, especially if you’ve got a soft spot for experimental folk with catchy songwriting.

Reviewed by O.S.

Tracklist:

1. Minack Theatre (3:58)
2. Sweet Enough? (4:03)
3. Build You A Song (4:43)
4. Long Live The Post Romantic Empire (5:13)
5. We Wait For Them (3:43)
6. Donald (4:08)
7. Crowhurst (4:26)
8. Floating (3:52)
9. Jack In The Pulpit (3:25)
10. Can’t Stop This (4:07)
11. There (Dark-hearted) (3:53)
12. We Wait (Dark-hearted) (4:11)

Review: Phantom Dog Beneath the Moon – The Trees, The Sea in a Lunar Stream (2010)

admin — Wed, 11 Aug 2010 07:25:28 +0000

artist: Phantom Dog Beneath the Moon
release: The Trees, The Sea in a Lunar Stream
format: CD
year of release: 2010
label: Rusted Rail
duration: 49:55

detailed info: discogs.com

It’s been six years since the release of the first album by Phantom Dog Beneath the Moon on Deserted Village in 2004. There is little surprise for me that this follow up charts a significant growth in the project’s music. The recruitment of Scott McLaughlin as a permanent second band member has certainly contributed to this, as the ghostly and dark singer/songwriter folk has been enriched with a broader instrumentarium and more varied compositions.

This is showcased perfectly in the first four tracks. “As Perceived by Mice” lays a nice flowing base with piano and guitar, and Aaron Hurley‘s trademark high voice, still pleasantly reminiscent of Thom Yorke here and there. The beautiful “Poems” is very intimate and subtle, weaving soft guitar lines with swooping cello and delicate touches of glockenspiel and music box. “Stealing Owls” and “Hide and Seek” introduce Barry Hurley on drums, lending these tracks a stronger rhythmic touch, bordering on subtle psych rock here and there, particularly in the last track’s harpsichord sections.

The second half of the album holds more good things; The fifth and seventh track are simple and stylish guitar songs in the band’s original vein, while “A Shimmering Clown” is a darkly beautiful soundscape with distant, sorrowful vocals. The closer, “Halloween”, is equally excellent, with a superb development and crashing rock ending.

The edges are rough, which can be expected from an underground project like this. But look past that, and you’ve got a beautiful, honest and highly original album, lovingly released and handmade by Rusted Rail. Another gem from Ireland, highly recommended to dark folk lovers.

Reviewed by O.S.

Tracklist:

1. As Perceived By Mice (5:17)
2. Poems (6:28)
3. Stealing Owls (5:51)
4. Hide And Seek (6:29)
5. Ellipse Of A Forest Walk (3:38)
6. A Shimmering Clown (7:29)
7. Two Hours After Dusk (5:37)
8. Halloween (9:06)

Review: Locrian – Territories (2010)

admin — Fri, 06 Aug 2010 11:46:21 +0000

artist: Locrian
release: Territories
format: LP
year of release: 2010
label: At War With False Noise, Basses Frequences, BloodLust!, Small Doses
duration: 47:47

detailed info: discogs.com

Locrian‘s discography keeps growing at a steady pace, and with releases like this year’s Territories filling up the ranks, that is nothing to be ashamed of. The solid base of tearing guitars, drones, subtle synths and screeching noise is still here, but this time around, Andre Foisy and Terrence Hannum are joined by a variety of guest musicians, adding drums and other elements into the dystopian music.

“Inverted Ruins” starts off slow, with plodding drums and ear-piercing high frequencies accompanying slowly descending chords and raw, dirty vocals. “Between Barrows” is a subtle layered ambient piece with organs and cymbal swells. The A-side closes with a short noisy guitar soundscape that morphs into a raw black metal track, opening new vistas for the band.

The second half of the album has a similar curve, with “Ring Road” and “Antediluvian Territory” exploring melodies and drones, and the excellent final track, bringing more black metal after an otherworldly dual-guitar intro, and ending with some great melodic guitar leads over slower drums.

This Territories LP is yet another example of the fascinating music of Locrian. It’s not quite metal, not quite ambient, but something in its own right: urban, industrial, raw, visionary, and dystopian. Genre-crossing music for the 21st century.

Reviewed by O.S.

Tracklist:

I. Inverted Ruins (8:35)
II. Between Barrows (5:54)
III. Procession Of Ancestral Brutalism (10:48)

IV. Ring Road (9:41)
V. Antediluvian Territory (4:02)
VI. The Columnless Arcade (8:50)

Cloudscape #5: August 2010

admin — Mon, 02 Aug 2010 08:15:45 +0000

Cloudscape #5: August 2010 by Evening Of Light on Mixcloud

Playlist with starting times in parentheses:

1. (00:00)
novemthree – Ashes
from: From These Ashes (2010)

2. (05:55)
Nihil Project – Weaving Wheat
from: Plough Plays (2006)

3. (10:44)
Twelve Thousand Days – All in the May
from: The Devil in the Grain (2001)

4. (13:12)
Locrian – Between Barrows
from: Territories (2010)

5. (18:58)
Maarten van der Vleuten – Thymatron DG
from: ECT for Piano (2009)

6. (22:14)
The Gray Field Recordings – Stars Fall to Earth
from: Hypnagogia (2005)

7. (25:15)
English Heretic - Don’t Let Them Immanentise the Eschaton
from: 2006 Annual (2006)

8. (26:53)
Von Thronstahl - Sturmzeit [Schachmatt Mix]
from: Conscriptum (2010)

9. (29:55)
Kris Force / Jarboe – Woodsman Wolf
from: The Path (2010)

10. (32:50)
Visions – In the Midst of Infinity
from: Summoning the Void (2010)

11. (42:00)
Children of the Stones – Fog on the Womb Road
from: The Bright Day Is Gone (2006)

12. (48:28)
Duo Noir - Recessional
from: Sintra (2010)

13. (55:28)
Primordial – Hosting of the Sidhe
from: Storm Before Calm (2002)

Review: Mendel Kaelen – Remembering What Was Forgotten (2010)

admin — Fri, 30 Jul 2010 05:49:34 +0000

artist: Mendel Kaelen
release: Remembering What Was Forgotten
format: CD
year of release: 2010
label: Self-released
duration: 66:02

detailed info: discogs.com

Some ambient music is a direct expression of the landscapes that engendered it. A good example would be a great deal of Scandinavian (dark) ambient, where desolate environments and long periods of light and dark leap vividly from the soundscapes. So, why couldn’t we do the same in the Netherlands?

Remembering What Was Forgotten by Mendel Kaelen might just be an attempt at achieving such an effect. The four long soundscapes on this album revolve around field recordings and lovingly produced synths and arhythmic percussion, such as rainmakers. The massive first track definitely goes in that direction, at least, giving center stage to water in many forms, that element so quintessential to Dutch culture. “Forgetting To Remember” links the theme of defective memory (or even dementia?) to barren, windswept musical landscapes, achieving a calm but melancholic whole. “In the stillness” continues in this vein with some treated minimalist piano sounds and soft drones. The final track builds up more intensity, coupling bright layered drones with more percussion.

Altogether, this is an ambient album by the book, with meticulous production and a level of refinement not often encountered in Dutch artists. As a quick comparison, I’d say it sounds a bit like Northaunt, transposed down a few degrees to Dutch latitudes. It is self-released on CD in a zen-like digipak, so quite professionally formatted as well. Mendel Kaelen has delivered very fine work here, that comes highly recommended to ambient lovers.

Reviewed by O.S.

Tracklist:

1. Satori (29:08)
2. Forgetting To Remember (13:13)
3. In The Stillness (13:13)
4. Light Of Nature (10:25)

Review: Celestiial – Where Life Springs Eternal (2010)

admin — Sat, 17 Jul 2010 17:31:34 +0000

artist: Celestiial
release: Where Life Springs Eternal
format: CD
year of release: 2010
label: Bindrune
duration: 56:24

detailed info: discogs.com

Some young artists have the strength of character to build on the influence of their forebears, without losing themselves in either dull imitation or empty rebellion. There is a fine balance where elements from the past are put to use in expressing a new, and above all, personal musical vision. Tanner Anderson‘s brainchild Celestiial (here assisted by Timothy Glenn and Jason Walton) is such a vision, using the raw materials of heavy metal to forge soundscapes that express the energies inherent in nature.

Where Life Springs Eternal is the second full length album of this project, and it elaborates subtly on the style of 2006′s Desolate North. “Spell Over Still Water” starts the album with deep guitar drones, heavy weather field recordings and the penetrating screech of bowed cymbals. The second track is the main carrier of this album, thrusting up wave after wave of obscure guitar chords and reverb-drenched vocals. This sound design gives the music just that tad of abstraction that lends new expressive power to familiar instruments. Treated like this, the majestic tones and pulses of the music resemble what to me sounds like the true heartbeat of the landscape in which Celestiial is rooted: deep forests, massive lakes, rain storms…

The middle of the album showcases another side of Anderson’s music, where it is revealed again that he has more up his sleeve than the expansive melodic minimalism of the previous track. “From Elm Blossoms A Rose” is nothing less than a romantic ode on Celtic harp with the sounds of a forest in the background. A beautiful interlude before the coming onslaught of “Offering In Cedar Smoke”, another track in the band’s heavier style. A short harp outro seals the album, again on a calmer note.

While there are clear traces of black metal and doom metal in Celestiial, as well as influences of drone and Celtic traditional music, it wouldn’t do the band justice to label it purely as any or all of these, for the reasons mentioned at the start of the review. It is vital for music today to embrace the old in new ways, and not to let tradition stagnate and ultimately die. Like I said, it takes vision to take traditions into the future, and vision is certainly strong here. That doesn’t mean that Where Life Springs Eternal is flawless or approachable for all. It does mean that it sends out its spirit at a unique and pure frequency. The only thing left is to find out if it resonates with you as it does with me.

Reviewed by O.S.

Tracklist:

I. Spell Over Still Water (4:15)
II. Great Storms Carry My Sadness (30:45)
III. From Elm Blossoms A Rose (For LRN) (2:37)
IV. Offering In Cedar Smoke (16:43)
V. Songbirds Depart Through The Passing Near The Garden (2:05)

Review: Force / Jarboe present The Path (2010)

admin — Fri, 16 Jul 2010 17:24:36 +0000

artist: Kris Force & Jarboe
release: The Path
format: CD
year of release: 2010
label: Paradigms
duration: 66:01

detailed info: discogs.com

Artists active in different media working together on new concepts often achieve fascinating results where they complement each other’s forms of expression. Soundtracks are a perfect example of this, where music and sound design ideally works in tandem with the audiovisual experience of a film, or in this case, a digital video game. The Path was developed by Belgian independent digital artists Auriea Harvey and Michaël Samyn, publishing their work under the name Tale of Tales. The game was published in early 2009, and went on to inspire strong reactions in the international gamer press and communities. If baffled or infuriated some people who were unable to deal with its unstreamlined gameplay and its controversial and challenging thematic content. At the same time, many people were won over by the game’s powerful vision and atmosphere, as well as its psychological power.

In short, The Path is about girls growing up through traumatic and life-shaping experiences. This psychological premise is cast in a surrealistic game of exploration and horror, wherein the player guides six incarnations of Little Red Riding Hood (ranging in age from 9 to 19) through the forest towards Grandmother’s House, or towards their doom: the Wolf. Undertones of death, loss, illness, self-destruction, sex, nostalgia, and trauma abound in The Path, which is not for the faint of heart. Ultimately, though, I believe it is a life-affirming and powerful experience, and a testament to the possibilities of digital art as a medium.

The game’s artistic success has a lot to thank to its aural components, which is why it’s very nice that the soundtrack was released separately this year. Working together here are two women with their own unique place in the history of alternative music. Jarboe we know, of course, from her period playing with Swans and her extensive solo and collaborative works. Kris Force plays with Amber Asylum, and has collaborated with Tony Wakeford on great releases by The Triple Tree and Grey Force Wakeford, for example. Together they have crafted a musical score that is the perfect underpinning of the unsettling themes in this game, using a variety of acoustic instruments, vocal styles, and digital effects and samples.

Partly, the music and the game draw upon the horror trope of juxtaposing the world of the child with that of the adult. Thus, like the game confronts the youngest Little Red with a graveyard-roaming Werewolf, so the childish melodies and innocent voices clash with dark ambiances, harsh distortion, and deep rumblings in the soundtrack. In general, though, the music presents a variety of themes forming a stylistically coherent whole.

Of particular note are the sweeping violin-based “Forest Theme”, which is a bit overused in the game, as well the wolf themes that accompany key climatic passages in the game. Each of these perfectly accentuates the feelings connected to the wolf encounters, from the classic horror of the “Werewolf”, church bells and all, through to the sad theme of “Fey Wolf”, who seals the doom of the eldest girl with its piano strings. In between there are the calm mysticism of “Cloud Wolf”, the lost childhood of “Girl in Red”, the urban theme of “Charming Wolf”, with engines and smoke, and the relentless chops and moans of “Woodsman Wolf”.

Also wonderful, as well as unique to this soundtrack because they’re not in the game – for obvious reasons – are Jarboe‘s retellings of two different versions of the tale of Little Red Riding Hood. There’s “Grandmother’s Tale”, which reveals the tale’s strong sexual undertones, and “Little Red Riding Hood”, which will be closer to the version of the tale which most of us will have heard as a child; without the happy ending, that is.

I can imagine this CD won’t be totally impressive without having actually experienced the game, which can be an issue for many musical scores. One needs the context to fully enjoy the music. That said, this is all the more reason to take a look at the game as well as the soundtrack, for both together stand for a unique work of modern art, fusing folklore, horror, feminine psychology, and experimental music in a masterful way.

Reviewed by O.S.

Tracklist:

1. Safe Song – The Path (2:38)
2. Forest Theme (7:03)
3. Little Girls (1:03)
4. Charming Wolf (3:26)
5. Fey Wolf (4:59)
6. Forest Interlude 1 (1:27)
7. Woodsman Wolf (3:25)
8. Werewolf (5:58)
9. Girl In Red (3:15)
10. Forest Interlude 2 (4:06)
11. Grandmother’s tale (7:17)
12. Cloud Wolf (6:54)
13. Epilogue (5:20)
14. Little Red Riding Hood (5:58)
15. Forest Reprise (2:21)
16. EAT (0:51)

Review: Jahrtal – William Blake – Lieder Von Unschuld Und Widerfahren (2009)

admin — Sat, 10 Jul 2010 13:32:19 +0000

artist: Jahrtal
release: William Blake – Lieder Von Unschuld Und Widerfahren
format: CD
year of release: 2009
label: Ahnstern
duration: 57:57

detailed info: discogs.com

Austrain Ewald Spiss and his project Jahrtal has been active the past year in developing his own take on alternative folk, resulting in the release of several albums recently. One of them is this one, released by Ahnstern, a setting of ten poems by William Blake from Songs of Innocence and Experience.

In terms of style, Spiss remains quite close to the German neofolk from around the turn of the millennium like Orplid and Forseti. This means an emphasis on calm, fingerpicked acoustic guitar melodies, soft male and female vocals, and the addition of support instruments like flute and fiddle here and there. Jahrtal adds to this a pleasant touch of Indian instruments in some places.

The problem with this kind of neofolk is that it runs the risk of becoming kitschy at times, like a number of other German genres. On the whole, the music on this album is somewhat tame, seeming to express in sound only the first stage of Blake’s lyrical diptych. The strong contrast between Unschuld and Widerfahren could have been emphasised more strongly with a twist in the music halfway, with a more satisfactory result.

That said, the music is very relaxing, and Spiss’ translations of the poems are very elegant. As such, this is an album that will please enthusiasts of this particular calm and pastoral neofolk style, as well as those who collect musical settings of Blake’s writings.

Reviewed by O.S.

Tracklist:

Lieder Von Unschuld

1. Eingang – Der Pfeifer (4:15)
2. Das Hallende Grün (5:55)
3. Nacht (8:51)
4. Frühling (4:58)
5. Wiegenlied (7:14)

Lieder Vom Widerfahren

6. Eingang – Der Erde Antwort (5:41)
7. Mein Hübscher Rosenstrauch (3:06)
8. Das Schulkind (5:47)
9. Kleines Verlorenes Kind (7:01)
10. Ach! Sonnenblume (5:060

Cloudscape #4: July 2010

admin — Mon, 05 Jul 2010 21:14:17 +0000

Cloudscape #4: July 2010 by Evening Of Light on Mixcloud

Playlist with starting times in parentheses:

1. (00:09)
Sol Invictus – The Bad Luck Bird
from: The Bad Luck Bird (2010)

2. (03:41)
The Driftwood Manor – Bury Me Alive
from: Holy Ghost (2010)

3. (07:42)
Phantom Dog Beneath the Moon – Poems
from: The Trees, the Sea in a Lunar Stream (2010)

4. (14:03)
Waldteufel – Traumpfad
from: Sanguis (2007)

5. (22:41)
Martyn Bates – Trade Winds
from: Mystery Seas (Letters Written #2) (1995)

6. (25:06)
Ruhr Hunter – Waniyetu Wintruz
from: By the Hum of Ullr’s Bow (2009)

7. (33:08)
Diamanda Galás - Deliver Me From Mine Enemies
from: The Divine Punishment (1986)

8. (35:51)
Diamanda Galás - We Will Not Accept Your Quarantine
from: The Divine Punishment (1986)

9. (38:07)
Wilt – Hemophilic Root Plow
from: Graveflowers (2004)

10. (46:00)
Nadja & Troum – Dominium Visurgis Part 2
from: Dominium Visurgis (2010)

11. (58:12)
Ulver – Your Call
from: Blood Inside (2005)

Review: Ctephin – DUAD (2009)

admin — Mon, 28 Jun 2010 16:57:23 +0000

artist: Ctephin
release: DUAD
format: 7″
year of release: 2009
label: Drone
duration: 13:16

detailed info: discogs.com

Ctephin is a family-based experimental music project from Oklahoma who have presented a great number of releases over the past decade, ranging from self-released material on digital and physical formats, as well as other releases on labels like AntiClock and Ethedrone Muzac. One of the latest of these is this wonderful 7″ in the ongoing Drone Records series, presenting two enigmatic and gripping organic drone pieces on golden vinyl.

Themed around mystical visions of the afterlife, the two sides of this single present evocative music. The first part is a musical image of a serene and somewhat mysterious heaven. Drones are combined with an echoing string melody that emphasises otherworldliness, suggesting a vision of heaven that is wholly unfamiliar to us, compared to our earthly existence.

Perhaps contrary to expectations, the hell-themed B-side isn’t that much darker, nor does it suggest extreme sufferings. It is more intense and noisy, though, layering thick slabs of drone and noise, swirling cymbals, and some stinging pieces of melody. A softly building crescendo or pure energy that is impressive and overpowering.

For me, little more is needed in a release like this. Excellent experimental tracks, a loving physical presence with quality vinyl and hand-painted covers, and as such a pristine example of some of the best things to come out of the ever-growing series of Drone Records. Highly recommended!

Reviewed by O.S.

Tracklist:

A. [heaven]: Beatific Vision (7:32)

B. [hell]: Precipice of Origin (5:44)

Review: Bad Sector – CMASA (2009)

admin — Tue, 22 Jun 2010 17:31:23 +0000

artist: Bad Sector
release: CMASA
format: CD
year of release: 2009
label: Power and Steel
duration: 40:00

detailed info: discogs.com

According to the liner notes, CMASA is an unusual album for Massimo Magrini, working as Bad Sector. Be that as it may, it is certainly not one without merit. This more or less conceptual album centered around the abandoned airplane factory CMASA is a varied piece of melodic dark ambient.

The sounds for this album were taken from pieces created by Magrini for the M3M exhibition in Pisa, 2005. On the one hand, field recordings – mostly sounds of metal and water – feature prominently. On the other hand, there are large roles for acoustic guitar and piano melodies, apart from the usual ambient electronics. In keeping with the theme, the meeting of river and sea, a lot of sounds on this album evoke dripping, flowing, waves and surges.

Considering all this, CMASA is a very successful album, offering a pleasant variety of sounds with a coherent tone and colour. The focus on a concrete concept and pleasant though mysterious melodies makes it an accessible album as well. The quick switches between sound elements comes across a bit haphazard or superficial at times, but that doesn’t keep it from being a thoroughly enjoyable release.

Reviewed by O.S.

Tracklist:

1. Entrance (2:00)
2. CMASA 1/3 (12:00)
3. CMASA 2/3 (12:00)
4. CMASA 3/3 (12:00)
5. Exit (2:00)

Review: Sol Invictus – The Bad Luck Bird (2010)

admin — Sat, 19 Jun 2010 15:44:39 +0000

artist: Sol Invictus
release: The Bad Luck Bird
format: 7″
year of release: 2010
label: Auerbach / Prophecy
duration: 7:14

detailed info: discogs.com

It’s been quite a wait, but after almost five years, 2010 sees the release of new Sol Invictus studio material. A full-length album is upcoming on Auerbach/Prophecy, but this 7″ is the first taste of what is to come on The Cruelest Month.

And that is, not surprisingly, classic neofolk as it is not often made anymore these days. Mainstays of the genre like Current 93 and Death in June have moved into different territories or relative silence since the early and mid-nineties, which can be considered the heyday of this particular sound. And as for later bands, we’ve seen some quality material here and there during the past ten years, but on the whole, the genre seems to be in low gear.

Who better than Sol Invictus would come with new material to celebrate this traditional neofolk sound? The A-side is a rousing and swooping song with strong percussion, a guitar chord base, and lead roles for flute, violin, and cello. The track is a logical but more powerful continuation of sounds from 2005′s The Devil’s Steed, and pretty much embodies the side of neofolk dedicated to grandeur and martian feelings. “Stella Maris” explores the calmer, more mysterious side of the music, without letting go of the full instrumentation.

If this style is any indication of what will feature on the upcoming album, it is something to look forward to, especially if you have a soft spot for Sol Invictus‘ particular neofolk style. I must say that I was a bit disappointed by the overly modest packaging and layout of this limited 7″. In this digital age, vinyl buyers like to be rewarded with a dash of colour, a gatefold, or even an insert or inner sleeve would’ve been nice. Apart from that though, this is a very enjoyable single that shows Mr. Wakeford and his merry band have still got it.

Reviewed by O.S.

Tracklist:

A. The Bad Luck Bird (Single Version) (3:37)
B. Stella Maris (3:37)

Review: Bird from the Abyss – I (2009)

admin — Tue, 08 Jun 2010 16:19:09 +0000

artist: Bird from the Abyss
release: I
format: CDr
year of release: 2009
label: Self-released
duration: 13:08

detailed info: discogs.com

This Finnish one-man project by J.N. Aaltonen presented I, its debut release, in 2009, unleashing on the world its obscure ritual sounds. In practice, I is halfway between a demo and a first EP, with quaint homemade presentation, but music that is promising and interesting, but in need of a little more polish.

Ritual music, as I said, and executed mostly with acoustic string instruments, assorted percussion, supported by some bass rumblings and heavy guitars at times. Melodies and rhythms turn back upon themselves in repeating patterns, forming the musical basis for the ritual nature of this work.

Added to this is a fascinating and almost uniquely Finnish thematic whole, incorporating folklore, shamanism, esotericism, and dark mythology. As a whole, the music is certainly original enough, though with pleasant echos of others (Finnish) sounds from experimental folk and (post-)industrial music. However, it does lack a certain refinement and development that could have made these short tracks more imminent and expressive.

No doubt, that will come later with Bird from the Abyss‘ next efforts, for there is no reason why we shouldn’t look forward to new material. Until then, this is a nice underground release, recommended to check if you liked, for example, Tervahäät.

Reviewed by O.S.

Tracklist:

1. Intro / Beginning At Center Of The Chaos / Azathoth And Flute (1:54)
2. Song To The Great Black Fox (2:13)
3. Ways Of Slaughter (3:34)
4. Abdul Alhazred’s Anxiety (5:22)

Cloudscape #3: June 2010

admin — Thu, 03 Jun 2010 21:07:47 +0000

Evening Of Light Cloudscape #3: June 2010 by Evening Of Light on Mixcloud

Playlist with starting times in parentheses:

1. (00:07)
Wolves in the Throne Room – Dea Artio
from: Two Hunters (2007)

2. (05:50)
Sieben – Build You a Song
from: Star Wood Brick Firmament (2010)

3. (10:24)
Agitated Radio Pilot – The Drunken Poet
from: A Field Day (2009)

4. (12:44)
The A. Lords – Toy Piano, Balalaika
from: The A. Lords (2006)

5. (14:39)
In Ruin – Fragmented Hearts
from: A Ghost To Be Forgotten (2008)

6. (19:00)
The Joy of Nature – Cavalos Correm nas Minhas Veias
from: The Empty Circle Part II (2009)

7. (22:56)
Troum - Procession
from: Eald-Ge-Stréon (2009)

8. (27:15)
Vägskäl – Deep Inside
from: This Could’ve Been the Beginning of Something Great (2007)

9. (30:40)
Ctephin – [hell]: Precipice of Origin
from: DUAD (2009)

10. (36:15)
Mendel Kaelen – Light of Nature
from: Remembering What Was Forgotten (2010)

11. (46:08)
Far Black Furlong – Far Black Furlong Three & Four
from: Far Black Furlong (2007)

12. (59:40)
Nico – Evening of Light
from: The Marble Index (1968)

Review: Pacific 231 & Vox Populi! – Aramesh (2009)

admin — Thu, 03 Jun 2010 09:24:57 +0000

artist: Pacific 231 & Vox Populi!
release: Aramesh
format: CD
year of release: 2009
label: Rotorelief
duration: 64:40

detailed info: discogs.com

Aramesh is a collaboration between two artists who have been active in the French industrial underground since the early 1980s, to wit Vox Populi! and Pacific 231. This was my first encounter with either of them, but one that definitely whet my appetite for more of their work.

Me being new to the music of these projects, I can’t say anything about how it relates to their earlier works throught the past three decades. Where they’ve arrived now, though, is a fascinating area of experimental music where ambient meets industrial, psychedelic music, and ethnic influences. The album is very song oriented, varying widely in intensity and colour over each of the sixteen tracks. Some tracks are very short, others hit the ten minute mark, so there is a lot of variation to be found, without any clear overarching pattern that is forced upon the listener. Rather, it seems we are invited to take the album in piecemeal, or in random order.

Taken in that fashion, Aramesh is a wonderful album, surprising in its diversity and its open sound. Most of the sound comes from synths, noises, and drones, but there is a lot of percussion floating around, some vocals, flute, you name it. This is one to take in lying back, headphones on, the sun in your face, perhaps some good scents and intoxicants floating around… you’re in for one good trip.

Reviewed by O.S.

Tracklist:

1 Ajr (4:34)
2 Dumai (3:34)
3 Gharb (4:51)
4 Loomhe (1:08)
5 Sawt (5:24)
6 Waartve (10:00)
7 Chamal (5:15)
8 Berz (2:15)
9 Janub (2:17)
10 Mumb (0:58)
11 Alif (2:13)
12 Asas (4:42)
13 Dumai (3:31)
14 Maktum (3:31)
15 Ubub (8:37)
16 Inzur (1:50)

Review: Yawning Chasm – That Shadow Is That Hidden (2009)

admin — Mon, 31 May 2010 12:27:24 +0000

artist: Yawning Chasm
release: The Shadow Is That Hidden
format: 3″ CDr
year of release: 2009
label: Rusted Rail
duration: 20:46

detailed info: discogs.com

One of the latest in the highly recognisable series of 3″ EPs put out by Irish label Rusted Rail is this new one by Yawning Chasm, the solo project of Aaron Coyne, who is also one half of Mirakil Whip.

Six lo-fi singer/songwriter tracks make up this release, centered around voice and guitar, both well-covered in effects, resulting in dreamy, eerie folk songs with flowing circular melodies. It’s music that will definitely appeal to you if you fancy the sound of, for example, labelmates Phantom Dog Beneath the Moon, or other purveyors of ghostly modern folk tunes.

Though each song had its own charm, as a whole the EP is not immediately very impressive or original. However, depending on your mood and surroundings, these songs can definitely hit the right spot. Sitting in the train, with the summer sun in your face, the landscape zipping by, it works perfectly in several parts.

Not something to buy blindly, but if your interest is piqued do give it a listen. Rusted Rail EPs generally hold something nice for the sympathetic ear.

Reviewed by O.S.

Tracklist:

1. To The Void (2:28)
2. Stars Are Going Out (2:43)
3. Tumble River (4:02)
4. Monsters (3:54)
5. Your Bones Will Bleach White (3:48)
6. Distant Fires (3:51)

Review: Olhon – Lucifugus (2009)

admin — Thu, 20 May 2010 09:26:03 +0000

artist: Olhon
release: Lucifugus
format: 10″
year of release: 2009
label: Substantia Innominata
duration: 24:05

detailed info: discogs.com

The sound of metal has been a staple in industrial music and its offshoots for around four decades now. And no wonder, there is something evocative and imminent about its clanging, scraping, and tolling. On this 10″, the Olhon duo, consisting of Massimo Magrini (Bad Sector) and Zairo (Where), explore the unique acoustics of a large (abandoned) water tank previously used for mining industries. All sounds on this EP were recorded in and from the tank “during a windy night in late September 2007″, resulting in two long soundscapes with a very coherent sound.

“Homo Lucifugus” graces the main side of this release, focusing on eerie aerial sound, subtle drones, and errattic metal percission. Olhon resists the temptation to stuff these soundscapes chock full of layers, opting instead for a rather open sound design where you can clearly pick out every element at all times. This lends the sound a subtlety that encourages attentive listening, and it really allows the unique sound of the water tank to surface.

The B-side, “Vox Lucifuga” contains a bit more distortion and noise, particularly in the middle part of the track, raising the intensity level of the release somewhat by this point. The effect is more that of metal scraping directly in your brain, rather than the convoluted sound of collapsing metal structures that is also audible quite often in music like this. Following is a section that returns to the eeriness that pervades a great part of this release: howling abstract winds, soft rustling and jangling, and deep drones, all softly receding towards the ending of this release.

Because of its unique sound source and well-crafted production, Lucifugus is a very successful and satisfying piece that will be interesting to many lovers of ambient, drones and abstract music. The fact that it is lovingly released as part of the Substantia Innominata series, with suitable artwork and orange vinyl, only adds to its appeal.

Reviewed by O.S.

Tracklist:

A Homo Lucifugus (12:01)
B Vox Lucifuga (12:04)

http://www.substantia-innominata.de/

Cloudscape #2: May 2010

admin — Thu, 13 May 2010 07:22:15 +0000

Evening Of Light Cloudscape #2 : May 2010 by Evening Of Light on Mixcloud

Playlist with starting times in parentheses:

1. (00:07)
United Bible Studies – The Swallowing
from: The Jonah (2009)

2. (3:38)
Inalonelyplace – Little Black Heart
from: Unrequited Creatures of Beauty (2009)

3. (5:46)
The Driftwood Manor – The Lasting Final Hurt
from: The Same Figure, Leaving (2010)

4. (8:40)
Richard Skelton – Green Withins Brook
from: Landings (2009)

5. (12:38)
Woodpecker Wooliams – In Your Mouth
from: Diving Down (2009)

6. (17:08)
:Golgatha: & Dawn & Dusk Entwined – The Messiah
from: Sang Graal (2008)

7. (22:29)
Karjalan Sissit - Har Du Horat Runt På Campingen?
from: Fucking Whore Society (2009)

8. (26:23)
Richard Moult – Swaermian
from: Ethe (2010)

9. (33:57)
Xenis Emputae Travelling Band – Chapel of Infinite Echo
from: The Hieroglyphic Mountain (2004)

10. (48:57)
Skepticism – The Falls
from: Lead and Aether (1997)

Eclipse Review: Skepticism – Lead and Aether (1997)

admin — Sun, 09 May 2010 20:15:59 +0000

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)

Review: The Magickal Folk of the Faraway Tree – The Soup & The Shilling (2010)

admin — Fri, 30 Apr 2010 09:15:59 +0000

artist: The Magickal Folk of the Faraway Tree
release: The Soup & The Shilling
format: 2xCD
year: 2010
label: Deadslackstring / Deserted Village
duration: 74:58

detailed info: discogs.com

It’s been a wait of over five years, but for those who’ve – like me – been looking forward to a re-release of the first two EPs by The Magcikal Folk of the Faraway Tree, the moment is here. Even better, we get a whole new album thrown into the bargain. If you’re unfamiliar with the band, it’s best introduced as the traditional folk outlet of the good people from the Deserted Village collective in Ireland. It’s a bit vague who the exact contributors to the band are, but it’s clear that Deserted Village mainstays David Colohan and Gavin Prior are among them.

CD 1 contains the aforementioned EPs, The Mildew Leaf (2003) and The Cat’s Melodeon (2005), both of which were highly limited releases. Separating the two is the beautiful “Being Here Has Caused My Sorrow”, from the Gold Leaf Branches compilation put out by Digitalis a while back. Both contain a very nice selection of (mostly) British and Irish traditional folk tunes, performed as if straight from some countryside pub, which isn’t even that unlikely considering the nomadic characters that generally make up Deserted Village. The performance isn’t perfectly polished everywhere, but that has never been something to daunt genuine folk enthusiasts. Among the many great tracks on these EPs are some beautiful Gaelic songs (“In Aimsir Bhaint An Fhéir”), rousing battle anthems (“Trelawny”), sea shanties (“The Mermaid”), and tragic ballads (“Daybreak”).

The second half of this release contains fourteen unreleased tracks, basically in the same style as what we’ve heard before. The selection of songs is excellent, and contains a mixture of moods comparable to that on the EPs. “An Bhanaltra” opens with soft guitar and flute lines and Gaelic text. Some more uptempo work is also found, such as “Locks and Bolts” and especially “Up to the Rigs”, a scoundrel anthem if there ever was one. On the other hand, the melancholic and reflective side of folk music represented by beautiful tracks such as “Going to Mass Last Sunday” and a touching rendition of “My Lodging it Is on the Cold Ground”.

Apart from the rather sober presentation – the cover drawing and pictures don’t really come out well – this release is filled with loveliness. There’s a perfect balance of different kinds of folk songs that should appeal to any lover of traditional interpretations, with a lingering presence of the experimental tendencies of the Deserted Village collective.

Reviewed by O.S.

Tracklist:

The Mildew Leaf
1.1 In Aimsir Bhaint An Fhéir (2:41)
1.2 Spencer The Rover (3:43)
1.3 Le Bon Marain (3:35)
1.4 The Blackthorn Tree (2:09)
1.5 Twa Corbies (1:40)
1.6 Is Iomaidh Coiscéim Fada (3:23)
1.7 Time To Go Home (1:54)

1.8 Being Here Has Caused My Sorrow (4:25)

The Cat’s Melodeon
1.9 Trelawny (4:07)
1.10 The Mermaid (1:56)
1.11 Caol Is Eadar Mí Is Iain (0:41)
1.12 Daybreak (1:52)
1.13 Donal Óg (3:29)
1.14 Mrs Cudmore’s Air (0:44)
1.15 Here’s A Health To All True Lovers (2:44)

2.1 An Bhanaltra (4:50)
2.2 Cambourne Hill (0:49)
2.3 Trois Jeunes Tambours (2:14)
2.4 I Binged Avree (1:00)
2.5 Blackbirds And Thrushes (2:16)
2.6 Locks And Bolts (2:28)
2.7 She Was A Rum One (3:00)
2.8 My Lodging It Is On The Cold Ground (3:09)
2.9 The Summer Will Come (1:16)
2.10 Going To Mass Last Sunday (3:19)
2.11 The Deluded Lover (3:09)
2.12 Up To The Rigs (2:29)
2.13 The Cat’s Melodeon (2:27)
2.14 The Haselbury Girl (3:29)

Cloudscape #1 : April 2010

admin — Thu, 29 Apr 2010 16:19:50 +0000

Evening Of Light Cloudscape #1 : April 2010 by Evening Of Light on Mixcloud

Playlist with starting times in parentheses:

1. (00:17)
artist: Celestiial – Spell over Still Water
album: Where Life Springs Eternal (2010)
label: Bindrune

2. (4:13)
artist: Machinist - Viens avec Moi dans le Vide III
album: Viens avec Moi dans le Vide (2010)
label: Betontoon

3. (12:00)
artist: The Gray Field Recordings - In Milky Twilight
album: The Weaver’s Daughter (2009)
label: AntiClock

4. (16:06)
artist: Ashberry - Myra
album: Resin (2009)
label: Wounded Wolf

5. (23:12)
artist: The Magickal Folk of the Faraway Tree - My Lodging it Is on the Cold Ground
album: The Soup & The Shilling (2010)
label: Deadslackstring / Deserted Village

6. (26:16)
artist: Yawning Chasm - Monsters
album: The Shadow Is That Hidden (2009)
label: Rusted Rail

7. (29:54)
artist: Premonition Factory - 59 Airplanes Waiting for New York
album: 59 Airplanes Waiting for New York (2010)
label: Longstreet

8. (36:20)
artist: Artefactum - Rosa Rubea
album: Sub Rosa (2008)
label: Drone

9. (42:00)
artist: Tervahäät - Hauta
album: Tervahäät (2009)
label: Anima Arctica

10. (46:44)
artist: Locrian - Obsolete Elegy in Cast Concrete
album: Drenched Lands (2009)
label: At War with False Noise / Small Doses

11. (53:12)
artist: Einstürzende Neubauten - Yü-Gung (Fütter Mein Ego)
album: Halber Mensch (1985)
label: Boudisque

:EOL02: Maarten van der Vleuten – A True & Faithful Relation of What Passed for Many Years Between Dr. John Dee and Some Spirits

admin — Thu, 22 Apr 2010 12:24:05 +0000

The second Evening of Light release is the new full-length album by Dutch producer Maarten van der Vleuten. Maarten has been active for over two decades as a producer, DJ, and composer of various forms of electronic music, ranging from techno to house, experimental, and ambient. On this latest album, he combines upbeat ritualistic ambient tracks in the vein of his album on Tonefloat records, High Intolerance Towards Low Energies, with calmer compositions, obscure drones and vocal samples. The final result reaches different levels of intensity, from the strong pace of the opening track, to the entrancing drone of “The Lamentation Over The Destruction Of Mortlake”, through the techno-like beats of the penultimate track, and ending with a soothing and reflective piano-based piece. At the center of it all is the massive “The Magus”, a bright and open piece of esoteric ambient.

The album was inspired by the works of John Dee, court consultant to Queen Elizabeth I, and one of the most prominent magi of the Elizabethan Renaissance. The esoteric theme is reflected in the music, as well as the artwork and design, which features original images from Dee’s work, as well as handmade linocuts in 39 different colour schemes of Dee’s Monas Hieroglyphica, handmade by Phil Legard of Xenis Emputae Travelling Band and Larkfall Recordings.

The first edition of the release is limited to 113 handmade copies, featuring artwork and notes on ivory paper, and the general packaging on black paper. Of this edition, 15 copies are part of a special edition, entirely on ivory paper, with special lyric sheet and a phial of rose leaves and scented oil.

artist: Maarten van der Vleuten
release: A True & Faithful Relation of What Passed for Many Years Between Dr. John Dee and Some Spirits
layout: Phil Legard
duration: 7 tracks, 77:42
format: CDr
release date: May 1st 2010
catalogue number: :EOL02:
detailed info: discogs.com
availability: Limited edition of 113 unnumbered copies. Still available. See our order page to order this release, or for more info.

Use the player below for a sample preview of this release, containing snippets from 6 of the 7 tracks:

Reviews & Press:

-Played on KinkFM, X-rated
-Played on KX Radio, La Vie en Roose
-Featured on VPRO Radio 6, Cafe Sonore

Links:

Maarten van der Vleuten (Official Site)
Maarten van der Vleuten (MySpace)

Phil Legard / Larkfall

Review: Premonition Factory – 59 Airplanes Waiting for New York (2010)

admin — Wed, 21 Apr 2010 20:59:38 +0000

artist: Premonition Factory
release: 59 Airplanes Waiting for New York
format: CD
year of release: 2010
label: Longstreet
duration: 50:58

detailed info: discogs.com

59 Airplanes Waiting for New York is the debut album by Premonition Factory, the project of Sjaak Overgaauw, based in Antwerp. He self-released this album in a stylish digifile with modern design that reflects the care that went into the creation of the music as well. The album contains over 50 minutes of calm, reflective ambient based on improvised real-time looped synths.

The six tracks on this album are drifting and open, and each has a strong voice and atmosphere of its own, with some emphasising a slightly darker and more reserved tone, like “Needless To Say Anything” and “To the Dark Places Where it Leads”. On the other hand, tracks like the first one are quite bright, light, and open. The title track is definitely one of the best, with its crystal clear production and gripping piano-based melodic structure, combined with soft background crackles. The last track is a very long one, ending the album gently and softly, floating away on clouds of sound.

It should come as a recommendation that Dirk Serries mastered this album, besides acting as a consultant for it. While it is clear that Overgaauw has more than enough talent to craft his own delicate soundscapes, it never hurts to have some guidance from someone with decades of experience. In this case, it means the debut Premonition Factory album is immediately on a very high level in terms of production and sound. As such, it comes with a very strong recommendation for all lovers of dreamy and subtle ambient music.

Reviewed by O.S.

Tracklist:

1. To Those Worthy Of Honour (5:44)
2. Needless To Say Anything (9:32)
3. To The Dark Place Where It Leads (4:43)
4. The Future Will Be Whatever We Make It (5:23)
5. 59 Airplanes Waiting For New York (6:58)
6. Only Birds Know Where To Fly (18:41)

Review: Ian Holloway & Banks Bailey – A Brief Sojourn (2009)

admin — Wed, 14 Apr 2010 17:50:02 +0000

artist: Ian Holloway & Banks Bailey
release: A Brief Sojourn
format: CDr
year of release: 2009
label: Quiet World
duration: 36:24

In terms of quality releases, things have been running smoothly for Welsh drone/ambient label Quiet World. A recent example is A Brief Sojourn, a collaboration between Banks Bailey and Ian Holloway, delivering well over half an hour of finely blended drones and field recordings.

The sound on this album is most comparable to that on Summerland, where both men worked together with Darren Tate. A heavy dose of nature sounds like rain, birds, rustlings, are combined with subtle melodies, drones, and pulses, together forming a varied and atmospheric whole. The drones and weather sounds form an organic backdrop for a broad scala of unique ‘voices’.

The release isn’t very extreme at either end of the intensity spectrum; it maintains a stable level of layeredness and volume, without any strong eruptions of noise or silence. A perfect companion piece for a journey, a meditation or relaxation session, and the like. It’s a tad dark and ominous at times, so A Brief Sojourn will primarily be of interest to lovers of more obscure drone and ambient, but that goes for most of the Quiet World titles thus far. Compared to what went before, in any case, this one is certainly no disappointment.

Reviewed by O.S.

Tracklist:

1. A Brief Sojourn (36:24)

Review: The Joy of Nature – The Empty Circle Part II – Rastos De Sangue E Fragmentos Da Tradição (2009)

admin — Sun, 04 Apr 2010 10:32:13 +0000

artist: The Joy of Nature
release: The Empty Circle Part II – Rastos De Sangue E Fragmentos Da Tradição
format: CD
year of release: 2009
label: Ahnstern
duration: 64:58

detailed info: discogs.com

Rastos De Sangue E Fragmentos Da Tradição is the second part of the series of The Empty Circle, and also the second full length by The Joy of Nature on Ahnstern. While remaining faithful to the project’s unique Mediterranean neofolk sound, this particular album benefits from an emphasis on song, as well as the addition of guest musicians who bring touches of their own style to the music.

While the rich, dreamy sound of The Joy of Nature‘s previous releases remains in place, masterfully mixing various string instruments, percussion, as well as horns, field recordings, and other sources, this album has a fresh sound to it, leaving more room for vocals and song structures to emerge, and less emphasis on almost soundscape-like compositions. A perfect example, as well as one of the best tracks on the album is “Cavalos Correm Nas Minhas Veias”, a rousing uptempo track with a martial rhythm backing and a generally uplifting and battle-ready sound to it. Add to it chariot sounds, bagpipes, whistles and whatnot, and you’ve got an excellent track that wouldn’t be out of place with a project like Sangre Cavallum. No surprise perhaps that Bruno Ardo is one of the guest musicians on this track.

There is slightly more room for more expansive tracks on the second half of the album, where experimental compositions carve out a space for themselves. We are treated to a showcase of project mastermind Luís Couto‘s broad range of musical and vocal styles, the latter of which still aren’t perfect everywhere, but this detracts little from the high level of general quality of the music on this album. Particular mention deserves to go to tracks like “Sombras Dos Nossos Ancestrais” [Portuguese for Shadows of Our Ancetors, if general linguistic knowledge doesn't fail me], with its diverse ritual character, and “A Senhora Do Almortão E A Criança Esventrada”, equally flowing and ritual, and sounding like a warmer southern European version of Tenhi, if you can imagine such a thing.

Coupled with themes of nature, spirituality and tradition, the music on this album is highly convincing in its combination of compact songs and extended experimental compositions. In many respects, the most mature The Joy of Nature album to date, and one that is certain to please lovers of Luís’ earlier work, as well as lovers of experimental folk music in general.

Reviewed by O.S.

Tracklist:

1. Invocação Ao Arcanjo Miguel (1:05)
2. Tanchão (3:14)
3. Terra De Lava E De Mar (4:06)
4. Ó Menino Ó (2:55)
5. Nas Veias Do Menino (2:15)
6. Cavalos Correm Nas Minhas Veias (4:03)
7. Sete Cidades (5:23)
8. Senhora Da Manhã Vitoriosa (3:48)
9. Por Tua Saudade (5:52)
10. Sombras Dos Nossos Ancestrais (6:29)
11. A Senhora Do Almortão E A Criança Esventrada (8:49)
12. Do Outro Lado Da Montanha (8:28)
13. O Cortejo Sinistro Das Sombras (5:39)
14. Para Lá Das Sombras (2:52)