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2011: A Retrospective

admin — Sat, 31 Dec 2011 14:23:45 +0000

We’re joining in the list fever this year – though not before the year is more or less through – with the favourite 2011 records from Evening of Light HQ. Of course we missed tons of good releases out there, but these at least are things we particularly enjoyed. Thanks to all the artists and labels for sharing their music with us.

First the top 10, in alphabetical order.

The A. Lords – The A. Lords (Rif Mountain) [Our Review]

The LP followup to 2006′s self-titled 3″ is a masterpiece of pastoral, almost ambient, folk. Nicholas Palmer and Michael Tanner‘s blend of many acoustic instruments with field recordings, and quite a few fortuitous guest appearances, makes for a wonderful album that started out as a relaxed summer favourite and turned into a classic for all seasons.

Bass Communion – Cenotaph (Tonefloat)

Steven Wilson‘s drone project hits bullseye with this CD/LP release on tonefloat. The four massive tracks on this album combine ultra-deep drones with pulsating beats in a flawless production. One of the most hypnotic releases of the year!

Burial Hex – Book of Delusions (Brave Mysteries) [Our Review]

Aural insanity is one way to describe the utterly original and uncompromising output of Burial Hex the past few years. It appears the project is ending after this year, but Book of Delusions is one of the testaments to its genius, combining drones, samples, organ, piano, demented screams, and hypnotic beats into an unholy musical mixture.

Momick – Momick (Bladud Flies!) [Our Review]

Richard Moult and Michael Lawrence bring their lysergic piano morphing to a debut full length filled with melancholic melodies and soundscapes, including beautiful guest performances by David Tibet on vocals and Mark Baigent on oboe.

Obsequiae – Suspended in the Brume of Eos (Bindrune) [Our Review]

This duo’s excellent blend of death/black metal and mediaeval musical inspiration makes for an album steeped in energy, solid riffs, and awesome melodies. Our metal tip of the year!

Premonition Factory – The Sense of Time (Longstreet) [Our Review]

A flawless ambient album, and a crown on a long tradition. Sjaak Overgaauw‘s live looping technique is marvellous and the mixture of light and dark, soft and harsh on this album marks the coming of age of a most excellent project. This one just keeps on growing and is not only one of our favourite albums of this year, but one of our favourite albums, period.

Rain Drinkers – Springtide (Reverb Worship)

This project is one of our favourite discoveries of the year, and their blend of organic ambient and cinematic music (for lack of a better description) is consistently excellent. Springtide is their finest work, though, featuring marvellous violin and string work, heavy drones, organ, and tons of atmosphere.

Sand Snowman – The World’s Not Worth It (Tonefloat) [Our Review]

Sand Snowman’s most recent album is another winner, with a particularly excellent mix of progressive folk and rock songs, as well as soundscape-like episodes. Great use of piano, flutes, clarinet, and a guest appearance by Steven Wilson make this an excellent new full-length.

Tenhi – Saivo (Prophecy) [Our Review]

Refined as ever, Tenhi’s latest is easily one of the best albums of the year in the neofolk area. Despite staying true to their own style, they’re still quite a distance ahead of most others in this area and Saivo is as much a pleasure to listen as its predecessor from five years ago.

Maarten van der Vleuten – The Scars Remain (Tonefloat)

Of course we’re quite partial to the Van der Vleuten album we released ourselves in 2010, but this year’s return to vinyl (and to tonefloat) is simply a masterpiece. His original electronic compositions are masterfully fused with influences and themes from martial industrial, but with Maarten’s own critical view on the subject matter.

The following albums, too, are all particularly recommended in their own right as quality releases from 2011:

Alcest – Le Secret (Prophecy) [Our Review]:
Rerecording of Alcest’s excellent shoegaze/black metal debut EP.
Peter Bjärgö – The Architecture of Melancholy (Cyclic Law):
The Arcana frontman presents seven nice darkwave/gothic tracks.
Kate Bush – 50 Words for Snow (Fish People):
Surprising and very fulfilling, Bush’s minimal jazzy piano landscapes delight.
Circulation of Light – LEDNAH : Seven Meditations On G.F. Handel’s Organ Concertos Op. 4 (Brave Mysteries):
Acoustic/ambient reinterpretations of a classical piece.
The Cloisters – Little Winter [Our Review]:
Yule album combining harp and ambient by Michael Tanner and Aine O’Dwyer.
Jon DeRosa – Anchored EP (Silber) [Our Review]:
Four pure and lovely indie pop songs from the man behind Aarktica.
The Doomed Bird of Providence – Will Ever Pray (Front and Follow) [Our Review]:
Original and intense nautical neofolk.
The Driftwood Manor – Shelter EP (Rusted Rail):
Five lovely Irish folk tracks on this bonus EP to The Same Figure, Leaving.
Joonatan Elokuu – Earth, Sky, Moon and Sun EP (Utupuu):
Recorded in Holland, Elokuu presents a wonderful blend of neofolk, ambient, and field recordings.
Higuma – Pacific Fog Dreams (Root Strata) [Our Review]:
Gorgeous guitar and vocal drones.
Andrew King – Deus Ignotus (Epiphany) [Our Review]:
Powerful traditional balladry, with a touch of industrial aesthetics.
Machinist – Of What Once Was (Moving Furniture):
Sophisticated drones from the Netherlands.
Richard Moult – Celestial King for a Year (Second Language) [Our Review]:
Experimental compositions for strings and voice.
Raising Holy Sparks – Beyond the Unnamed Bay (Fort Evil Fruit):
Agitated Radio Pilot’s David Colohan returns with his new project, blending lovely folk tunes and experimental electronics.
Rose Croix – Rose Croix (Brave Mysteries) [Our Review]:
Ethereal and martial industrial meet on this nostalgic cassette mini-album.
Ulver – Wars of the Roses (K-Scope) [Our Review]:
Slightly underwhelming, the Norwegians’ latest is still a quality album, particularly the massive spoken word ending.
Vidna Obmana – 1987-2007 – Chasing the Odyssey (Tonefloat) [Our Review]:
Mostly older material, but this 8LP box of ambient glory is too beautiful not to remind you of.
Vortex – Rockdrill (Cyclic Law):
Ritual and rhythmic ambient goodness from this Golgatha side project.

Review: Andrew King – Deus Ignotus (2011)

admin — Thu, 11 Aug 2011 11:00:22 +0000

artist: Andrew King
release: Deus Ignotus
format: CD
year of release: 2011
label: Epiphany
duration: 61:55

detailed info: discogs.com

It’s already been eight years since Andrew King‘s previous solo album The Amfortas Wound in 2003, and one realises how time flies. The gap is partially bridged by smaller releases and collaborations (with among others Sol Invictus, Duo Noir, Brown Sierra, The Triple Tree) so perhaps that is why it doesn’t feel like such a long time. Regardless, Deus Ignotus is a long-awaited work, and a new opportunity for King to put forth a very personal collection of traditional songs.

The album starts with some familiar work, to wit the excellent “The Three Ravens” and its intro, which have been welcome guests at King’s live performances in recent years. Another familiar tune may be the a capella “Edward”, of which an instrumentalised version appeared on the latest Sol Invictus album The Cruellest Month this year. Some other loose tracks are newer to King’s repertoire, as far as I know, such as “The Wife of Usher’s Well”, accompanied by soft but threatening synths and percussive accents, and “Lord Lovel”, another a capella piece.

Perhaps most surprising, and pleasantly so, is the inclusion of some mediaeval tunes, such as “Sic Mea Fata Canenda Solor” from the Carmina Burana, and Oswald von Wolkenstein‘s “Fröleichen So Well Wir”, which turned into a marvellous waltzing dance track in King’s version.

A quartet of tracks (6.1 – 7.2) is dedicated to the Biblical tale of Judas’ betrayal of Jesus. King cobbles together a fascinating musical narrative with different perspectives out of four different text sources, at the centre of which stands the 13th century Middle English ballad “Judas”, marvellously rendered with powerful percussion by John Murphy and instrumental arrangements played by Hunter Barr and Maria Vellanz. This track is a perfect example of King’s original musical vision that combines traditional song with a modern post-industrial form of composition.

I can’t do complete justice here to the impressive combination of research and creativity that resulted in these works, but I will simply refer the reader to the extensive notes and lyrics in the booklet to this album, which documents these processes. Nowhere are these notes more elaborate than for the final piece, “Sir Hugh”, and for good reason. It is a dark narrative ballad about the alleged murder of a young boy by Jews in mediaeval Lincoln. For the historical background on this instance of the Blood Libel myth, King’s notes provide three pages of information, including references to scholarship. Regardless, the narrative in the ballad related the Blood Libel as historical fact, which shows that the oral tradition on occasion preserves anti-Semitic and other unsavoury ideas. Apart from its insidious historical assertion, though, the song is very powerful as a murder ballad, and King’s rendition channels that dark energy of it quite well, confronting the listener with the attractive and enticing ways evil ideas can be packaged, and teaching us to always keep a critical eye and ear open.

Altogether, Deus Ignotus is another milestone for King’s oeuvre, the fruits of much research and a singular vision. As before, he is one of the most important and original artists in modern/alternative folk interpretation, and this album is certainly one of his best works to date, lacking next to nothing in diversity of song selection, deliverance, instrumentation, and documentation.

Reviewed by O.S.

Tracklist:

1. Corvus Terrae Terror (2:25)
2. The Three Ravens (6:01)
3. The Wife Of Usher’s Well (6:10)
4. Sic Mea Fata Canendo Solor (6:21)
5. Edward (4:22)
6.1. The Elders Of The People Took Counsel (1:45)
6.2. In Upper Room (5:28)
7.1. Judas (10:13)
7.2. Could Ye Not Watch With Me One Hour (1:16)
8. Lord Lovel (6:57)
9. Fröleichen So Well Wir (3:54)
10. Sir Hugh (7:03)

Cloudscape #16: July 2011

admin — Sat, 02 Jul 2011 14:30:25 +0000

Cloudscape #16: July 2011 by Evening Of Light on Mixcloud

time | artist | track | album | year

Review: Sol Invictus – The Cruellest Month (2011)

admin — Sat, 11 Jun 2011 12:37:54 +0000

artist: Sol Invictus
release: The Cruellest Month
format: CD
year of release: 2011
label: Auerbach
duration: 56:50

detailed info: discogs.com

It’s been a year or six since the last proper Sol Invictus album, and we’ve had to turn to Tony Wakeford‘s consistent work on various side projects (The Triple Tree, Orchestra Noir, Grey Force Wakeford) and solo works to follow the man’s current musical directions. Nevertheless, it seems he’s gathered enough inspiration from all these endeavours to infuse Sol Invictus’ seminal neofolk with some new influences.

As has been the case with practically all albums by the band in the almost 25 years of its existence (an impressive datum in itself) there is some recycling of themes, melodic motifs, and composition structure. What fascinates me is that despite of this, and with the help of a varying and ever-changing musical arrangement, most of these albums are still interesting and fresh enough, and The Cruellest Month is no exception. Tracks like “Something’s Coming” and “Toys” (though the latter is lyrically very enjoyable) have perhaps a bit too much of that “heard this before” feeling, but overall, there is a lot of variation. Andrew King‘s rendition of traditionals (“Edward” and “Cruel Lincoln”) differ from his solo works in the addition of the Sol Invictus band, and practically embody the part of neofolk that is rooted in folk balladry. Tracks like “Stella Maris” and “Fool’s Ship” tackle a more expansive sound and nautical theme where the rich arrangements for flute (Guy Harries), dulcimer (Reeve Malka) and violin (Renee Rosen) truly shine. The same point applies to the brilliant instrumental “April Rain”.

Another selling point of The Cruellest Month is the collection of series of tracks that have been all over the place, except together on a definitive Sol Invictus studio album: “To Kill All Kings”, “The Bad Luck Bird”, “The Cruellest Month”, and “The Blackleg Miner”. All are live staples, typical anthems, or at least bound to become one, so it’s good to have them all here. I must say that a bit more fire could have gone into the delivery of these here and there, but overall, these are solid tracks, and more examples of what has kept Wakeford’s compositions interesting throughout the years: a strong sense of rhythm, song structure, and memorable melodies.

The first couple of drafts of this review in my head compared The Cruellest Month to side project albums that have impressed me the past few year (Ghosts by The Triple Tree, Marble Heart by Grey Force Wakeford, Not All of Me Will Die by Wakeford solo). The greater degree of experimentation that Wakeford displayed on such albums is in some sense laudable, and part of me wishes a bit more had trickled through into this one. All the same, this is a Sol Invictus album, and another part of me realises that staying relatively faithful to the song-based tradition of neofolk is what keeps the band on track as a project. In that light, the balance struck between tradition and more loose composition and instrumental play on The Cruellest Month is excellent. So, it’s a new album by what stands as the mainstay band of the neofolk genre, and though it’s not a thoroughly surprising one, I’d say it’s exemplary and at the top of what the genre has to offer.

Reviewed by O.S.

Tracklist:

1. Raining In April (2:34)
2. To Kill All Kings (4:50)
3. The Sailor’s Aria (1:38)
4. Fool’s Ship (4:24)
5. Toys (3:20)
6. Edward (5:36)
7. The Bad Luck Bird (4:14)
8. April Rain (5:33)
9. Cruel Lincoln (7:59)
10. Something’s Coming (4:11)
11. Stella Maris (3:26)
12. The Cruellest Month (5:45)
13. The Blackleg Miner (3:23)

1	Raining In April	2:34
2	To Kill All Kings	4:50
3	The Sailor’s Aria	1:38
4	Fool’s Ship	4:24
5	Toys	3:20
6	Edward	5:36
7	The Bad Luck Bird	4:14
8	April Rain	5:33
9	Cruel Lincoln	7:59
10	Something’s Coming	4:11
11	Stella Maris	3:26
12	The Cruellest Month	5:45
13	The Blackleg Miner	3:23

Review: Andrew King & Brown Sierra – The Kraken (2010)

admin — Sun, 24 Apr 2011 10:55:32 +0000

artist: Andrew King & Brown Sierra
release: The Kraken
format: 12″
year of release: 2010
label: DAIS
duration: 20:53

detailed info: discogs.com

As on their previous collaboration Thalassocracy, Andrew King and Brown Sierra team up to combine traditional British song with noise and abstract sound. The theme of nautical song was also continued on this latest release, an EP containing four new works.

“The Kraken”, a piece written by Alfred, Lord Tennyson, depicts the raw power of the sea, and it is cast in a rolling, powerful monologue by the aural artists here, not unlike King’s staple piece “Proto-Azazel”. In the background, the Kraken (or the sea) roars in surges of noise, which give way to the second piece, an instrumental exercise by Brown Sierra solo. We are treated to the unusual and evocative sound of the Pyrophone [wiki], which describes the desolation and eerie nature of open sea.

Proper folk song can be found on side B, where King presents two relatively unknown traditionals dealing with British seafaring history. The first, where he is assisted by Brown Sierra again, deals with the eventful journey of the Bold Princess Royal and its crew, which narrowly escapes from an encounter with pirates. The final track is a lament for Lord Nelson and a discussion of what monument to build for the man. This piece appeals to me most, in its sparse setting, with in the background only the gentle four-second ticking of the clock in the Old Royal Naval College in Greenwich. The song is drawn-out, soft, and convincing.

In all, this is a very nice addition to the collection of anyone who enjoyed earlier work of these artists together, or Andrew King solo. For others, perhaps less so, as it takes a predilection for both bare-bones folk and experimental sounds to truly enjoy records like this.

Reviewed by O.S.

Tracklist:

1. Andrew King & Brown Sierra - The Kraken (3:00)
2. Brown Sierra – Abysmal Sea (4:59)

3. Andrew King & Brown Sierra - The Bold Princess Royal (stolen version) (5:10)
4. Andrew King – The Death of Nelson (Nelson’s Monument) (7:44)

Cloudscape #13: April 2011

admin — Wed, 06 Apr 2011 19:07:25 +0000

Cloudscape #13: April 2011 by Evening Of Light on Mixcloud

time| artist | track | album | year

Review: Duo Noir – Sintra (2010)

admin — Thu, 23 Sep 2010 15:16:54 +0000

artist: Duo Noir
release: Sintra
format: CD
year of release: 2010
label: TURSA
duration: 71:57

detailed info: discogs.com

Anyone who has seen Sol Invictus live during the past years will have noted the chemistry between Tony Wakeford and Andrew King. The style and repertoire of these men complement each other marvellously, and they’ve apparently come to the same conclusion, staging shows as a duo in addition to the full band experience of Sol Invictus. Their concert in Sintra of 14th November 2009 was recorded and now released as a limited live album on TURSA.

The twenty tracks on Sintra prove to be a very representative document of these live shows and indeed of their whole collective oeuvre. There are obviously lots of Sol Invictus tracks here, but we also hear The Triple Tree, Orchestra Noir, and both men’s solo material. The overall tenor of this album is of course neofolk, with its powerful vocals, militaristic drums, and acoustic guitar. However, there is room for other things, such as the neoclassical “The Last Train” and the more traditional renditions of ballads and poems.

A personal selection of favourites includes “The Cruellest Month”, I presume the title track off the coming Sol Invictus album, brooding and dark; also “Black Crusade”, “Eve”, “Blackleg Miner”, and especially the trio of Rudyard Kipling‘s poems, sung by King: “Have You News of My Boy Jack”, “Gethsemane”, and “Recessional”. Particularly the last one, with its orchestral samples and solemn delivery, is a new highlight in King’s repertoire.

The strength of this show lies therefore not only in the reliable delivery of these two hardened folk artists, for that’s what they’ve become, but also in the selection of tracks, which is very diverse and sure to delight newcomers and longstanding fans alike. Very much worth your attention.

Reviewed by O.S.

Tracklist:

1. We Are The Dead Men (2:20)
2. An English Garden (4:10)
3. Edward (2:58)
4. Eve (2:06)
5. The Last Train (2:39)
6. Worcester City (5:43)
7. Night Forever (3:37)
8. Black Crusade (3:54)
9. Twa Corbies (2:49)
10. Death’s Head (2:35)
11. The Wild Wild Berry (5:11)
12. Holy Water (3:28)
13. Blackleg Miner (3:14)
14. The Cruellest Month (3:08)
15. Have You News Of My Boy Jack (2:27)
16. Gethsemane (3:34)
17. Recessional (7:14)
18. Down The Road Slowly (4:31)
19. All Alone In Her Nirvana (2:46)
20. Angels Fall (3:33)

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: Sol Invictus – Lex Talionis (1993/2008)

admin — Wed, 31 Dec 2008 23:00:41 +0000

1993 CD

2008 CD reissue

artist: Sol Invictus
release: Lex Talionis
format: CD
year of release: 1993, 2008
label: Tursa (1993), Infinite Fog (2008)
duration: 51:56

detailed info: discogs.com

Lex Talionis is one of the more important albums from the early days of neofolk mainstays Sol Invictus. It was released in 1990, the same year as Trees in Winter, but as part of a limited vinyl box set together with Current 93 and Nurse With Wound. It was released on CD (without the track “Reynardine”) by Tursa in 1993, which is probably the version that most people will be familiar with. However, as we all know, this was 15 years ago, and the album has been long out of print. That’s why it’s good news for younger Sol Invictus enthusiasts that the Russian label Infinite Fog has produced a fine digipak reissue, limited to 1001 copies.

Now, the obvious question for any reissue of an older album is whether it has stood the test of time. Let me begin by saying that compared to its contemporary, the quite excellent Trees in Winter, I believe Lex Talionis falls short in several areas. The problem is definitely not in the area of songwriting; the album contains tracks like “The Ruins” and “Kneel to the Cross” that I consider classic anthems of the genre, albeit in the superb versions on the 1994 album The Death of the West. The versions on the current album, however, sound like rough demos, with mediocre performance by both Tony Wakeford and Ian Read, who sounded much more in form on Trees in Winter. And this goes for many of the other tracks as well. The songwriting is at a high level, but the execution is lacking here and there.

That’s not to say that there aren’t any truly worthwhile tracks on this album, which deals thematically with the laws of just compensation (lex talionis) and nature’s cruelty (tooth and claw). To begin with, there’s the marvellous “Black Easter”, combining a heavy and noisy musical base with the ritual folk chanting of “we take death out the village, we bring summer into the village.” The calmer neofolk style of “Tooth and Claw” is also a well-succeeded point of rest in the middle of the album. Equally enjoyable is the combination of traditional and neofolk in “Abattoirs of Love”. Finally, the bonus track on the latest version of this album is not to be missed, a stirring live recording of “Black Easter” as the band performs it today, featuring among others Andrew King on percussion and vocals.

Weighing all impressions together, I’d say Lex Talionis is mainly interesting for fans of the band, who haven’t been able to acquire an older copy. They should be served quite well by this tasteful reissue. Others might do better to check out Trees in Winter for a highlight from the early period, or one of the more recent albums such as In a Garden Green or The Devil’s Steed.

Reviewed by O.S.

Tracklist:

1. Blood and Wine (1:32)
2. Lex Talionis (6:01)
3. Black Easter (4:29)
4. Kneel to the Cross (4:47)
5. The Ruins (2:50)
6. Tooth and Claw (6:52)
7. Blood Against Gold (4:24)
8. Fields (3:56)
9. Abattoirs of Love (5:23)
10. Heroes Day (2:39)
11. Rex Talionis (2:24)
12. Wine and Blood (2:24)

13. Black Easter (Live) (4:15)

Review: The Triple Tree – Ghosts (2008)

admin — Sun, 30 Nov 2008 23:00:05 +0000

artist: The Triple Tree
release: Ghosts
format: CD
year of release: 2008
label: Cold Spring
duration: 58:01

detailed info: discogs.com

Ghosts is one of those albums I had been waiting for for quite some time. Tony Wakeford started this project with the MP3-only album The Turning Wheel on Woven Wheat Whispers in 2006, but has since been joined by Andrew King to take on this project together. Along with an impressive array of guest artists (Kris Force, Reeve Malka, and John Murphy, to name a few), these two men have tackeled the superb and prolific ghost stories of M.R. James on this interesting and original album.

Those who think that Wakeford has been stuck in playing straight-forward neofolk with the classic Sol Invictus should look again, for the good man has shown a fine taste for musical experiments in the past years. 2007 saw the release of his collaboration with Nick Grey and Kris Force, the beautiful and subtle Grey Force Wakeford album, and this latest one by The Triple Tree is no exception. Ghosts is made up of original compositions that incorporate elements from the neofolk background, surely, but also ambient, neo-classical, Wakeford’s own funky bass, and of course traditional song as championed by Andrew King. The result as a whole is quite diverse, yet very coherent in its atmosphere.

That is, of course, the aim of a concept album like this. Just as James’ stories display different flavours, their overall tone is always one of dread and mystery: a restrained counterpart to the splatter horror of today. Ghosts are of course the real protagonists in these tales of forbidden esoteric magic, tragedy, and horrid crime. So it is with the music on this album, which is at different times epic, subtle, mystic, unnerving, catchy, but always convincing.

This album is quite different from its predecessor, which focused more on dreamy ambient repetition, and is closer to the aforementioned Grey Force Wakeford in style, though with a distinctly more horrid atmosphere, and more folk influences in the music itself. Another link is of course English Heretic, who indeed are no strangers to the world of M.R. James. Their interpretation of “Oh, Whistle, and I’ll Come to You” off the 2006 album Wyrd Tales was no less brilliant. Little surprise that The Triple Tree make grateful use of EH field recordings. Finally, Andrew King‘s collaboration with Les Sentiers Conflictuels comes to mind, which features a similar combination of spoken word and horror atmosphere.

There’s no use trying to describe this album any further. The key elements are sophisticated dark experimental music with a rewarding lyrical and narrative base in the classic ghost stories by James. It’s certainly not an accessible whole if you are expecting a certain established musical style, but I can’t do otherwise than recommend this album to anyone who feels up to the task of digesting this work of experimental musical horror.

Reviewed by O.S.

Tracklist:

1. Ghosts – Prologue (4:01)
2. Three Crowns (5:36)
3. The Stalls (3:45)
4. The Mezzotint (4:11)
5. Mrs. Mothersole (4:02)
6. The Ash Tree (4:40)
7. The Malice of Inanimate Objects (5:05)
8. There Was a Man Dwelt by a Churchyard (1:48)
9. Lost Hearts (5:25)
10. Oh, Whistle, and I’ll Come to You (5:10)
11. Black Crusade (4:54)
12. Casting the Runes (5:34)
13. The Ghosts of England (3:50)

Review: Andrew King – The Bitter Harvest (1998)

admin — Mon, 31 Mar 2008 23:00:26 +0000

artist: Andrew King
release: The Bitter Harvest
format: CD
year of release: 1998
label: Epiphany / World Serpent
duration: 75:20

detailed info: discogs.com

The Bitter Harvest was English folk singer Andrew King‘s debut album, released back in 1998 through World Serpent, which was still active at the time. On this album, Andrew was still trying to find his own form of presentation, and to those who have heard his recent work or seen him perform, the songs on this one will seem rather bare and more traditional. Indeed, on the majority of these ballads, King sings unaccompanied, or with a minimal drone backing. Like I said, this makes for quite traditional renditions of these folksongs. The vocal style is also different, often being a bit softer and less epic than Andrew’s style of today.

The result is that the greater part of this album is mainly interesting for traditional folk enthusiasts. Lovers of modern experimentation or Andrew’s more recent powerful post-industrial approach to folk will find little material to their liking here.

That’s not to say that this album isn’t nice all the same. I for one really enjoy the relatively pure settings of these ballads, which really drags you into the tales they tell. Most of them are murder ballads of some sort; examples are “The Folkestone Murder” and “Lily White Hand”, which relate the brutal murder of two young girls and a seduced young woman, respectively. At times, there is also a foreshadowing of King’s later style. The excellent “The House Carpenter” and “Maria Martin”, for example, both chilling tales, also feature more prominent accordion drone loops, and John Murphy provides guest percussion on the latter track. “The Taunton Wassail” is also a very nice track, by virtue of its mirth and energy.

So, while this may not be something for every lover of modern experimental and neofolk, if you really enjoy Andrew’s works, this one is definitely worth checking out, especially if you have a soft spot for authentic folk song.

Reviewed by O.S.

Tracklist:

1. May Song (2:15)
2. George Collins (4:39)
3. The Folkestone Murder (4:35)
4. The House Carpenter (8:57)
5. Sir Hugh (4:20)
6. Green Bushes (2:57)
7. Earl Richard (3:19)
8. Brigg Fair (2:03)
9. Young Andrew (11:25)
10. The Bither Withy (4:32)
11. Lily White Hand (2:27)
12. The Bonnie Bunch of Roses (2:32)
13. The Honest Labourer (4:47)
14. Maria Martin (6:55)
15. The Taunton Wassail (2:47)
16. Sad Processional (3:40)
17. May Song (3:10)

Review: John Barleycorn Reborn (2007)

admin — Wed, 31 Oct 2007 23:00:56 +0000

artist: V.A.
release: John Barleycorn Reborn : Dark Britannica
format: 2CD + MP3
year of release: 2007
label: Cold Spring & Woven Wheat Whispers
duration: 5:08:16

detailed info: discogs.com

Where to begin with an absolutely massive compilation like this? Well, it all started with Mark Coyle’s Woven Wheat Whispers label, which started in late 2005. Since then, he has managed to gather an impressive number of artists to his MP3-only label, covering the broad area of underground modern folk music, ranging from traditional to folk rock, from neofolk to psychedelic folk, from mediaeval to pagan folk. Hundreds of albums have been (re-)released, and the scope of the label has become huge. All the more reason why an overview compilation like this one is very welcome. Not only does the first edition of the John Barleycorn Reborn series contain a host of great artists, this is only the tip of the iceberg, for as the subtitle gives away, only English artists have been featured on this album (with the unforeseen exception of novemthree). More editions are to come, which will contain American artists, other European countries, and who knows what else?

But, let’s focus on this one first. In collaboration with English neofolk/post-industrial label Cold Spring, Woven Wheat Whispers has released the main part of the compilation on a fine 2CD set, contain well over two and a half hours of music. But, a WWW release wouldn’t be complete without some free stuff. In this case, this means a huge MP3 supplement, freely downloadable if you’ve bought the CDs. It contains a further two and a half hours of music, making the total running time of the set over five hours – now there’s value for money.

But, the value is not only in quantity, but also in quality, as there are so many great artists from various subareas of the folk world featured on this compilation. Even more so here than anywhere else, it would be a fool’s errand to try and give an in-depth review of every track. As it as, I’ll try and pick out the highlights, while giving a taste of the diversity contained in here at the same time. Of course, this compilation wouldn’t be complete without renditions of the traditional song that gave it its name: “John Barleycorn”. Both CDs start with a version of this classic, and The Horses of the Gods and The Anvil both pull it off convincingly and originally. Other traditionals also feature on the album, such as “Lay the Bent to the Bonny Broom” by Charlotte Greig and Johan Asherton, who deliver a long, intimate rendition of this cruel ballad. Clive Powell‘s “Reed Sodger” is based on various pieces of traditional rhyme, and features Clive’s unique voice over subtle electronics. The omnipresent (but rarely dull) “Twa Corbies” is here executed by pyschedelic folkrockers Mary Jane, who turn this track into a quite funky affair. “Pew Pew” is a Scottish traditional text, here set to harp and recorder by Quickthorn, featuring the vocals of Prydwyn. But, one of my absolute favourites has to be Venereum Arvum‘s version of “Child 102″, the ballad of the birth of Robin Hood. Sean and Rachel’s vocals soar in unison above subtle accompaniment, letting the beauty of the melody speak for itself convincingly.

Also the non-traditional tracks contain some great stuff. The English division of neofolk can’t be left out here, of course, and least of all Tony Wakeford‘s Sol Invictus, who come with a brand new track, representative of the band’s recent experimental direction. This is equally true of The Triple Tree, where Tony collaborates with Andrew King. “Three Crowns” is a dark track combining acoustic soundscapes with obscure folkloric themes (in this case from an M.R. James story). Andrew King solo is a guarantee for traditional song delivered with conviction, and based on proper research, and his version of “Dives and Lazarus” is no exception. This is a re-recorded version of the track which originally appeared on the split with Changes. Matt Howden‘s Sieben is also featured with a remix of a track from Ogham Inside the Night; a fine example of his original violin ‘n’ vocals approach to folky modern song. Finally, there’s While Angels Watch, with a not totally convincing track, which nevertheless has a very nice atmosphere and development.

But there’s so much more going on here I just have to mention. Damh the Bard delivers a rousing piece of pagan folk on “Spirit of Albion”. The Kitchen Cynics‘ “The Guidman’s Ground” is a song based on spacy guitar, accompanied by subtle vocals telling a rather dark folk narrative. “Summerhouse” by The A. Lords is a wonderfully serene piece of pastoral music, based on guitar, organ, and field recordings. The ever impressive Sharron Kraus comes with the very nice little “Horn Dance”. More esoteric things are happening with Alphane Moon, who offer a brilliant mix of semi-gregorian singing and the mystic acoustic sounds we’ve come to expect from these people at Oggum Records. Even more occult is English Heretic, of course, as always exploring obscure folkloric subjects, and presenting the results in the form of experimental music, here with electric guitar freakiness, wild vocals, drums, and samples. “Stained Glass Morning” by Sand Snowman is a great piece of psychedelic folk, combining superb acoustic guitar melodies with soothing female vocals.

And that was just the first 2CD part of the collection! If you get this album, be sure to get the free MP3 download as well, because there are quite some hidden gems in there as well. Of course, no time to mention them all, but here’s the ones that stuck with me most. First of all, Far Black Furlong present a wonderful epilogue (again with great oboe work) to the already excellent The East Room album, also on Woven Wheat Whispers. Odd one out is American novemthree, who nevertheless brings two convincing instrumental track of his foresty folk with nice percussion. Alan Trench and Martyn Bates‘ Twelve Thousand Days presents “Thistles”, a wonderful track from their 2006 album From the Walled Garden. Other work of Trench’s is also featured, with nice tracks by Orchis and Cunnan. Paul Newman‘s “Lavondyss” is a very good melancholic track on vocals and acoustic guitar. We also get a very nice selection of tunes from some of England’s finest mediaeval artists, such as The Daughters of Elvin and Steve Tyler. Best of all is Misericordia‘s “De Poni Amor A Me”, a superb song based on hammered dulcimer, hurdy-gurdy, and bagpipes.

I haven’t mentioned all, of course, and this is not the place for an even more in-depth approach. It doesn’t mean the unmentioned tracks aren’t good or interesting, of course, because this compilation has a very consistent quality level. What’s also not mentioned yet is that in addition to a load of great music, John Barleycorn Reborn also has a very firm folkloric concept. A selection of artists, as well as project initiator Mark Coyle have written short contributions in the booklet, to clarify their feeling towards this compilation, and towards the new folk revival that is being documented by it. For I believe a revival is a correct term. Folk music and lore has served as an inspiration to many artists over the past two decades or so, John Barleycorn Reborn is one of the first to provide an overview of at least a part of this area of music so full of original approaches. I firmly believe that this set and its followers will serve as a monument to this revival, and I imagine myself looking back to this in a couple of decades with a sense of nostalgia. I commend Woven Wheat Whispers and Cold Spring for putting this together for us, and I’m looking forward to the followups. Anyone who wants to know what’s happening in underground folk music these days should absolutely get this treasure trove! Even for those who knew many of the artists already, there is loads to discover.

Reviewed by O.S.

Tracklist:

Part 1: Birth:

1. The Horses Of The Gods – John Barleycorn (3:56)
2. The Owl Service – North Country Maid (2:39)
3. The Story – The Wicker Man (2:30)
4. Damh The Bard – Spirit of Albion (4:15)
5. Mary Jane – Twa Corbies (5:13)
6. Andrew King – Dives and Lazarus (6:29)
7. The Triple Tree – Three Crowns (5:37)
8. Sol Invictus – To Kill All Kings (5:55)
9. Sieben – Ogham On The Hill (Remix) (4:03)
10. Sharron Kraus – Horn Dance (3:30)
11. Charlotte Greig And Johan Asherton – Lay The Bent To The Bonny Broom (7:54)
12. Pumajaw – The Burning Of Auchindoun (5:43)
13. Peter Ulrich – The Scryer & The Shewstone (5:06)
14. Alphane Moon – Where The Hazel Grows (4:30)
15. English Heretic – Hippomania (6:50)
16. Far Black Furlong – Icy Solstice Eye (3:28)

Part 2: Death:

1. The Anvil – John Barleycorn Must Die (4:37)
2. Tinkerscuss – To Make You Stay (2:55)
3. The Straw Bear Band – Trial By Bread & Butter (3:37)
4. Electronic Voice Phenomena – The Sorrow Of Rimmon (3:56)
5. The Purple Minds Of Lazeron – Dragonfly (4:21)
6. Sand Snowman – Stained Glass Morning (5:56)
7. The A. Lords – Summerhouse (5:11)
8. The Kitchen Cynics – The Guidman’s Ground (4:18)
9. Quickthorn – Pew Pew (2:32)
10. Clive Powell – Reed Sodger (4:19)
11. Venereum Arvum – Child 102: Willie and Earl Richard’s Daughter (aka The Birth of Robin Hood) (7:33)
12. Drohne – Nottamun Town (6:55)
13. Stormcrow – Gargoyle (6:16)
14. Doug Peters – Pact (4:21)
15. While Angels Watch – Obsidian Blade (5:07)
16. Xenis Emputae Travelling Band – John Barleycorn: His Life, Death And Resurrection (4:52)
17. Martyn Bates – The Resurrection Apprentice (2:42)

Part 3: Rebirth:

1. Magpiety – The Rolling Of The Stones (2:05)
2. The Story – All Hallow’s Eve (5:07)
3. Telling The Bees – Wood (4:44)
4. David A Jaycock – Bonny Jaycock Turner (2:46)
5. Yealand Redmayne – Oh My Boy, My Bonny Boy (3:49)
6. Charlotte Greig and Johan Asherton – The Bold Fisherman (4:37)
7. Steve Tyler – Tierceron (4:02)
8. The Wendigo – The Wendigo (6:32)
9. The Owl Service – Wake the Vaulted Echo [Tigon Mix] (4:52)
10. Far Black Furlong – The East Room V (3:35)
11. Xenis Emputae Travelling Band – Brightening Dew (3:14)
12. Sedayne – Corvus Monedula (4:05)
13. The Straw Bear Band – Bear Ghost (5:08)
14. Novemthree – Scythe to the Grass (2:33)
15. Paul Newman – Lavondyss (4:59)
16. James Reid – Kingfisher Blue (5:17)
17. JefvTaon – (Digging The) Midnight Silver (4:24)
18. Wooden Spoon – Children’s Soul (1:49)
19. Big Eyes Family Players – A Dream of Fires (3:20)
20. Sundog – Kilpeck June 2007 (4:15)
21. Clive Powell – Ca The Horse, Me Marra (11:14)
22. Mac Henderson of Grand Union Morris – Jack In The Green (2:41)
23. Cunnan – Seven Sleeps, Seven Sorrows (11:58)
24. Orchis – The Silkie (3:46)
25. Twelve Thousand Days – Thistles (5:30)
26. Novemthree – Harvest Dance (2:32)
27. James Reid – Elder (3:51)
28. Mary Jane – When I Was In My Prime (5:06)
29. The Daughters of Elvin – Ognor Mi Trovo (3:19)
30. Misericordia – De Poni Amor A Me (6:15)
31. Venereum Arvum – Child 102 (lily flower mix) (7:54)
32. The Anvil – John Barleycorn Must Live (5:39)
33. The Sunshine People – The Old Way (1:07)