Evening of Light » cold spring

Review: V.A. – We Bring You a King with a Head of Gold (2010)

admin — Sat, 16 Apr 2011 08:06:34 +0000

artist: Various Artists
release: We Bring You a King with a Head of Gold
format: 2x CD
year of release: 2010
label: Cold Spring
duration: 2:25:42

detailed info: discogs.com

We Bring You a King with a Head of Gold is the long-awaited sequel to the excellent John Barleycorn Reborn compilation released several years ago. Again Cold Spring does the honours of releasing a compilation of British folk, though this time without the sadly defunct Woven Wheat Whispers. Like before, the harvest is two CDs full of contemporary folk tunes from different areas of the genre, ranging from traditional and particularly revival-inspired songs to selection of more experimental works.

Compared to the compilation that went before, I must admit I find this one a little bit disappointing. The nearly two and a half hours running time contains a lot of tracks that are average or lacklustre, and I also miss a bit of the diversity that was present on John Barleycorn Reborn. Some artists on We Bring You a King… are simply of mediocre quality, and others mar their performance with a certain kind of naive atavism or limited form of traditionalism, bending folk to a sort of preachy path which doesn’t appeal to me in any way.

Thankfully, both discs contain a good number of exceptions to this general impression, of which I will highlight a few. Barron Brady starts off the album with a solid rhythmic tune, excellent male and female vocals and an original set of lyrics. We find nice rich instrumentation on “Blood and Bones” by The Roman Amber Mill, a good example of the musically experimental folk I would have liked to hear more of on this album. Tony Wakeford is usually a good call in that department as well, and “The Devil” is no exception, being an originally executed track in the style of The Triple Tree. Sproatly Smith are one of the pleasant surprises for me, who bring a very fine experimental ambient folk tune that makes me interested in the rest of their work. The rest of the first disc ranges from pretty decent to disappointing, with “Jack the Mommet” by Philip Butler and Natasha Tranter being a nice exception, a classical guitar-based folk track with excellent supplemental instrumentation that is also spot-on in terms of atmosphere.

The second disc is similarly filled with average material interspersed with some nice highlights. Autumn Grieve is one, with the beautiful mystic “Within Hollows” taken from the wonderful Stray Birds EP. Another fun track is “The Song of the Fates” by The Fates, an a capella mythological narrative with a not unpleasant sixties nostalgia feel to it. Sedayne and his wife Rachel McCarron are a couple that always deliver the goods as well, with a sound that remains absolutely unique in modern folk. We hear three tracks from different projects here, as Sedayne : Sundog, Venereum Arvum and Demdyke, all worthwhile, particularly the latter. A final mention goes to the modern singer/songwriter folk style of Ruby Throat, a female voice in the area of Marissa Nadler or Woodpecker Wooliams.

All in all, I found John Barleycorn Reborn a more interesting compilation with a wider spectrum of musicians and a higher overall level of quality. This album, too, would have benefited from input of excellent artists such as Sand Snowman, Far Black Furlong, or The Owl Service, which made that first one a success. Despite this, I feel We Bring You a King is a worthy successor with quite some good tracks on it, and it is definitely worth getting for folk lovers. However, for the next instalment, if one is planned, it would be interesting to look at the folk world outside of Britain, and aim to get the very best out of that territory. Either that, or a more critical and thorough selection of British artists to truly fill up an album with excellent material.

Reviewed by O.S.

1-01 Barron Brady – Earthen Key (3:43)
1-02 Laienda – Little Drummer Boy / Anvil (5:53)
1-03 The Rowan Amber Mill – Blood And Bones (Ciderdelica Mix) (4:50)
1-04 Tony Wakeford – The Devil (3:58)
1-05 Kate Harrison – England (3:59)
1-06 Drohne – The Hooden Horse / An-Dro (3:37)
1-07 Corncrow – The Cutty Wren (3:09)
1-08 Sproatly Smith – I Shall Leave You There (6:10)
1-09 Tinkerscuss – Black Sarah (4:48)
1-10 Cernunnos Rising – Hear It With My Heart (3:29)
1-11 Mama – The Fool Of Spring (2:11)
1-12 Magicfolk – Green Man (3:17)
1-13 Wyrdstone – Lost At Ty Canol (4:14)
1-14 Emil Brynge – Devon Dream (4:54)
1-15 Kim Thompsett – Lords And Ladies (3:40)
1-16 Dragon Spirit – Always Be Ours (3:57)
1-17 Philip Butler And Natasha Tranter – Jack The Mommet (4:48)
1-18 Touch The Earth – Ancient Landscapes (3:17)

2-01 Relig Oran – Ye Mariners All (4:37)
2-02 Autumn Grieve – Within Hollows (4:56)
2-03 Ian McKone – Searching For Lambs (3:10)
2-04 John Parker – Manningham Blues (3:55)
2-05 Rattlebag – The Tyburn Sisters (2:52)
2-06 The Fates – The Song Of The Fates (3:31)
2-07 The Hare And The Moon – The Three Ravens (2:45)
2-08 The Kittiwakes – Lynx (4:10)
2-09 Venereum Arvum – Robin Sick And Weary (6:25)
2-10 Telling The Bees – Fithfath (3:18)
2-11 Richard Masters – The Wind Knows (5:33)
2-12 Demdyke – Mother Carey’s Chicks (6:18)
2-13 Beneath The Oak – Oh Earthly Man (4:12)
2-14 Sedayne : Sundog – A Wee Brown Cow (6:24)
2-15 Ruby Throat – Swan And The Minotaur (Troubled Man) (3:14)
2-16 Jennifer Crook – Ribbons Of Green / The Dream Waltz (Live) (6:43)

Review: Splinterskin – Wayward Souls (2009)

admin — Mon, 22 Feb 2010 21:48:39 +0000

artist: Splinterskin
release: Wayward Souls
format: CD
year of release: 2009
label: Cold Spring
duration: 44:49

detailed info: discogs.com

Ohio-based musician Splinterskin released his debut album on Cold Spring last summer, a full-length piece filled with moody and unnerving dark folk. The many short pieces on this record breathe an atmosphere of forest nights, creaking walls, and spiritual horror that is the lifeblood of that typical dark natural æsthetic that has developed over the past 15 years or so.

The musical base consists of fingerpicked acoustics, sometimes calm, sometimes frantic and quick, with mystical and dark chords that form the melody of this record. Samples of nature sounds and other wayside encounters emphasise the context of the lyrics that deal with various subjects. Foremost are tales of terror and dark folklore: wooden puppets with a life of their own, hidden creatures, old gods. An at times welcome variation is provided by more personal reflections on tracks like “The Skarekrow (October Roads)”, one of the best tracks on the album.

Criticism can certainly be levelled at precisely these æsthetics. You have to be in a certain mood to appreciate these grim tales and the demented storyteller voice of Splinterskin, though that isn’t a problem in itself. Rather, both the musical and lyrical stakes seem to be in atmosphere only, while the underlying substance is rather meagre, a downside that occurs regularly in this area of thematics.

Still, what is there is consistent, moody and expressive, an enjoyable trip through magical autumn woods that will please lovers of dark folk in the vein of bands like the Empyrium of give or take ten years ago, especially with a touch of dark atmosphere added.

Reviewed by O.S.

Tracklist:

1. Chanting Bells Call Shadows (1:45)
2. Dancing Dead Men (3:42)
3. The Crumbling Cabin (2:06)
4. Something In The Walls (2:56)
5. Moonlight Rain (2:49)
6. The Thing That Wasn’t (2:00)
7. Broken Down Hearse (1:46)
8. Still At The Windowsill (3:33)
9. Hoofbeats (1:40)
10. The Eyes That Hide (3:31)
11. The Skarekrow (October Roads) (3:20)
12. A Horrible Night To Have A Curse (4:15)
13. Black Bird Sorrow Song (0:47)
14. The Man On The Porch (3:13)
15. A Trail Of Trees (2:42)
16. Wayward Souls (3:52)
17. Dancing Dead Men (Reprise) (1:01)

Review: Rose Rovine e Amanti – Demian (2009)

admin — Tue, 05 Jan 2010 08:07:14 +0000

artist: Rose Rovine E Amanti
release: Demian
format: CD
year of release: 2009
label: Cold Spring
duration: 42:52

detailed info: discogs.com

Recorded in Rome in 2008, Demian is the second full length album by Rose Rovine E Amanti (mastermind: Damiano Mercuri) on Cold Spring Records. The album collects ten tracks of hot-blooded neofolk with a flair that is the trademark of many Mediterranean artists working in this field.

The songs on this album alternate between Italian and English, balladry and more powerful rock-influenced tracks, striking an enjoyable balance between calm pieces and more bracing work. There is a strong influence of Southern European folk and pop sensibility, which places the sound somewhere on a continuum between Sangre Cavallum and Spiritual Front. The more rocking tracks tend to stand out, because they offer a gripping appeal that is not present as much in the more generic slow songs. The title track is easily the best, fusing heavy martial industrial percussion with powerful acoustic guitar chords and a catchy song structure, and a swirling violin solo by Giuseppe Lorenzoni, reminiscent of Matt Howden‘s style. Equally strong is the bass-driven “From Desperation to Victory”, highlighting the martial theme that is still at the forefront of much contemporary neofolk.

And, like many of his contemporaries, Mercuri isn’t truly pushing the (sub)genre any further. The themes, the style, the sound, the atmosphere, we’ve heard it before in quite some places. In this sense, Rose Rovine E Amanti is a natural player in the process that practically all specialised styles of music succumb to: stagnation. That doesn’t mean Demian isn’t a good or enjoyable album, because it certainly is, if you’re in the right mood. It does mean that this album is niche music and recommended mostly to people operating within that niche.

Reviewed by O.S.

Tracklist:

1 Il Gatto Osserva (2:30)
2 Rose Rovine E Amanti (5:17)
3 Demian (3:53)
4 Il Grande Tradimento (5:04)
5 From Desperation To Victory (2:50)
6 The End Of This World ( 5:00)
7 Paura Del Demonio (5:23)
8 Mille Serpi (3:47)
9 Noi Ritorneremo (3:39)
10 Ave Maria (5:34)

Review: Boyd Rice & Z’EV (2008)

admin — Wed, 02 Sep 2009 23:00:26 +0000

artist: Boyd Rice & Z’EV
release: Boyd Rice & Z’EV
format: 12″
year of release: 2008
label: Cold Spring
duration: 24:17

detailed info: discogs.com.

When two industrial legends like Z’ev and Boyd Rice get together, expectations tend to be high, and mine were no exception when I saw this record in the shop. The presentation was no joke either: Cold Spring went stylish for this ltd. x 1000 release, a marbled clear red 12″ in a black sleeve with artworks by the musicians themselves.

It’s too bad then that the music was a tad disappointing. In my naivité I expected Boyd delivering his usual spoken messages over an industrial percussive soundtrack, or something of the like, but this EP is filled with, well, noise. Not that there’s anything wrong with noise, mind you. As we know, these are two men who know how to dish out earsplitting sounds, and the soundscapes on this record are – if not exactly pain-inducing – quite abrasive. One can vaguely hear the metal percussive elements, but most of it is warped and distorted to a degree that sound sources are hard to discern. It’ll be a tough job to pick out Rice’s supposed vocal contributions from this swirling mass of sound, for example. As a whole, the music sounds similar to Z’ev‘s other recent offerings, like Sum Things, though a bit more intense perhaps.

Despite being a decent noise record, I found this collaboration to be a bit underwhelming, at least in terms of musical content. The presentation is pristine, however, so this item will be of interest mainly to true collectors of these artists and/or vinyl fanatics.

Reviewed by O.S.

Tracklist:

45 rpm Side:
A. Z’EV & Boyd Rice – Untitled (8:09)

33 rpm Side:
B. Boyd Rice & Z’EV – Untitled (16:08)

Review: Seelenlicht – Gods and Devils (2008)

admin — Tue, 31 Mar 2009 23:00:09 +0000

artist: Seelenlicht
release: Gods and Devils
format: CD
year of release: 2008
label: Cold Spring
duration: 55:15

detailed info: discogs.com.

Seelenlicht is a collaboration between Butow Maler (Kammer Sieben) and Troy Southgate (HERR). Gods and Devils is their first album, released by Cold Spring, where lush neoclassical compositions – with the odd neofolk and martial industrial touch – are combined with extensive spoken word and vocal parts where Southgate presents his views on various cultural phenomena.

Let’s start with the musical part, which is simply quite good. The neoclassical compositions are layered, varied, and very smoothly executed, and for once I don’t really mind the fact that most of it is generated electronically. Would that synthesised instruments always sounded this good! It is clear however that all these pieces are meant to function as accompanying music to songs and text, and that is how they are best taken in: in the background while paying attention to the texts.

As said, the lyrics are a mixture of song and prose, and the subject matter also varies from song to song. On the one hand, we have a combination of mythical and poetic themes, of which “Herne the Hunter” and the two parts of “Idle Thoughts on the Janus Shore” are my favoruites. The other part of the lyrics has a more concrete reference to cultural and historical subject matter. Of these, the witty “Valhalla” – accompanied by an excellent martial music theme – is my favourite. In this track, Southgate presents a list describing some of his (I presume) cultural heroes in an unorthodox way. Other pieces, like “The Modern Saxons” and “Diary of Desolation” seem more serious though, and contain a scathing criticism of the superficialities of our modern consumer culture and 9 to 5 drudgery work ethic. On the one hand, I share many aspects of the views Southgate presents here, but I don’t feel that this music is the most appropriate vessel for these cultural essays. In themselves, the these texts are legitimate pieces of criticism, but they are hardly original, in particular in this music scene. I can see that this might not bother many other listeners, but for me, it drags down the listening experience at times, when a more abstract or mystical theme might have had a different effect. The same goes for the murder ballad “Love’s Final Hour”, which for some reason seems in dubious taste to me, while I normally love most traditional murder ballads.

Taken as a whole, therefore, this is an album that contains parts that succeed in gripping me with rich compositions and inspiring texts, but also those that lack in originality or finnesse. The end result is then an above average release that will be practically essential for fans of related projects like HERR and Kammer Sieben, and interesting if you like neoclassical music in general. Otherwise, I’m not sure if Gods and Devils will do it for you.

Reviewed by O.S.

Tracklist:

1. Prelude (4:14)
2. Demian (3:38)
3. Diary Of Desolation (Part One) (3:56)
4. She Walks In Beauty (3:55)
5. Flamme (3:52)
6. Diary Of Desolation (Part Two) (3:08)
7. Herne The Hunter (4:59)
8. Valhalla (3:33)
9. Idle Thoughts On The Janus Shore (Part One) (3:45)
10. Idle Thoughts On The Janus Shore (Part Two) (2:49)
11. The Modern Saxons (4:31)
12. Love’s Final Hour (4:40)
13. Diary Of Desolation (Part Three) (4:32)
14. Seelenlicht (3:43)

Review: Sagittarius – Songs from the Ivory Tower (2008)

Oscar — Sat, 28 Feb 2009 23:00:49 +0000

artist: Sagittarius
release: Songs from the Ivory Tower
format: CD
year of release: 2008
label: Cold Spring
duration: 46:44

detailed info: discogs.com.

Sagittarius is a German project headed by Cornelius Waldner, and it’s been around for a couple of years, with a few limited releases. This album, however, is their first on a bigger label like Cold Spring. What we get is about three quarters of an hour worth of calm neoclassical and neofolk, with piano as the dominant instrument. Most of the tracks are based on German poems, but with a bit of English and instrumental work thrown in as well.

The poems cover a range of topics, ranging from traditional romanticism, melancholia, and modern cultural criticism. This unites different areas from conceptual spectrum of neofolk, which is nice to see. The album certainly isn’t hung up on a single theme. The variation in terms of music isn’t very great, being based as said on piano, with the occasional addition of flute, cello, and guitar, sometimes provided by guest artists like Marcel P. (Allerseelen) and Damiano Mercuri (Rose Rovine E Amanti). However, in this case I don’t think it is a negative point for the album, which has a focused flow, somewhat comparable to that of Current 93‘s Soft Black Stars. The vocals are also varied, with guest singers like Troy Southgate (HERR) and Herr Twiggs (Kammer Sieben). I must say the performance of each of these guest performances varies in quality, but it never detracts from the overall atmosphere of the album.

I can be fairly brief about this one: it’s simply a very decent album. Certainly recommended for neofolk lovers, especially if you enjoy a calmer and perhaps distinctly German style, comparable to Orplid or Forseti. However, if you’re not particularly fond of neofolk or neoclassical, this album most likely won’t change your mind.

Reviewed by O.S.

Tracklist:

1. Nihil Arisen (3:43)
2. Du Stehst Am Alten Gartentor Und Schweigst (3:48)
3. Der Sommer, Den Die Erntezeit Gekrönt (2:27)
4. Die Nächtlichen Geschicke (1:39)
5. An Des Meeres Strand (4:01)
6. Trunkene Flut (3:14)
7. Das Lied (2:47)
8. Der Gute Kamerad (2:24)
9. Menuet Von Johann Krieger (Für H.E.R.R.) (1:24)
10. Cupio Dissolvi (4:48)
11. Sternwandel V (2:15)
12. Nova Apocalypsis (4:04)
13. Europa Calling (3:51)
14. In Signo Solis (3:33)

15. The Song (2:46)

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: HERR – Fire and Glass – A Norwood Tragedy (2007)

admin — Fri, 30 Nov 2007 23:00:19 +0000

artist: HERR
release: Fire and Glass – A Norwood Tragedy
format: CD
year of release: 2007
label: Cold Spring
duration: 18:52

detailed info: discogs.com

I hadn’t heard HERR before, except for a gig which didn’t impress me all that much. However, there’s a first time for everything, and this new EP is actually quite nice. It is a concept album, about the rise and fall of Crystal Palace, the famous building in London. Troy Southgate wrote the narrative that accompanies this album, and it is read aloud by him over the course of these four tracks. It is a personal dedication to a symbol of beauty and culture, that was however cruelly destroyed as the result of two arsons.

Musically, this EP presents a smooth neo-classical soundtrack to Southgate’s storytelling. A prominent role is laid out for piano and synths, and with excellent cello playing by Oskar van Dijk also featuring on three of the tracks. It all sounds quite stately and swirling, capturing the feeling that the building must have inspired, in a modern way. The melodies express the general mood of the tracks – wonder in the first, danger and loss in the second, etc. – in a subtle way, though also a bit too smoothly or easily. I would have liked to sense a bit more fireworks in the presentation and sound of the songs, where that would have matched the narrative content. As it is now, I often sense a bit of an emotional distance between the two, and I would have preferred a more intense link. This, then, is the main weak point of the EP: perhaps it could have achieved more emotional power.

Nevertheless, this is a very pleasant EP to listen to, and I find it an honourable tribute to Crystal Palace, now in ruins. I think fans of the band should not be disappointed by this release, and I also recommend it to people generally interested in neo-classical music.

Reviewed by O.S.

Tracklist:

1. Sparks of the Imaginative Mind (4:31)
2. Drowning in Showers of Melting Glass (5:49)
3. Memoirs of Light (3:08)
4. Embers (5:24)

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)

Review: Von Thronstahl – Sacrificare (2007)

admin — Wed, 31 Oct 2007 23:00:47 +0000

artist: Von Thronstahl
release: Sacrificare
format: CD, CD-Box
year of release: 2007
label: Cold Spring
duration: 71:19

detailed info: discogs.com

Sacrificare is the latest album of German Von Thronstahl. I must confess I do not know the band well. The few tracks that I’d heard didn’t impress me, and the right-winged reputation of Josef K. didn’t exactly pull me into further investigating the project. But, to be fair, this also means that I haven’t really researched the band, and when I got this album, I decided to give it a thorough going-over, to see if my initial impression was justified.

What we hear on this record is neofolk with some influences of rock, pop and martial, reminding me strongly of Death in June and, here and there, Laibach (in particular the clearly tongue-in-cheek tracks, like “Dressed in Black Uniforms”). This is immediately the biggest downside of the band, in my opinion; I would have preferred to hear a stronger own sound. To be frank, I’m beginning to tire of all these endless imitations (well done or not) of bands that made this kind of music twenty years ago, when it was still fresh and innovative. However, if you can’t get enough of it, I can say that the musical quality on this album generally ranges from decent to very well done (I’ll get back to this), and that it sounds fine in terms of performance and production. The artwork is also nicely done.

Because this is a rather long CD, I’ll discuss a few tracks that I noticed in particular for some reason. “Molti Piu Onore” is really a quite irritating, yet catchy track, with among other things a strong poppy beat, vague choir, trumpet, vocals, and guitar. “Gloomy White Sunday” is one of the better tracks. Quite atmospheric, but because of the acoustic guitar and metallophone, it’s quite reminiscent of Death in June, something which is also true of “Mother of Mercy (version)”. We hear a very nice guitar melody on “Berg-Einsamkeit”, a calm song that appeals to me. “The Four Horsemen of the Apokalypse” is a fun and catchy track, the melody of which is taken from an older track by Aphrodite’s Child. It’s a bit long for my taste, though, as is “Ganz In Weiss Und Ganz In Eisen”, and again the ‘guitar ‘n’ bells’ sound in the former track remind too much of Death in June. Furthermore, I don’t think Josef K.’s vocals are consistent everywhere. They fit a track like “Gloomy White Sunday”, but they irritate me in something like “Undefinierbare Sehnsucht”, but this is more a matter of taste.

Well, I suppose it must be clear what my main point of criticism is… A few nice tracks, but never really original. If this doesn’t bother you, and you can’t get enough of neofolk in the vein of Death in June, there’s nothing wrong with buying this album. However, if you are, like me, more interested in hearing innovation in the already saturated neofolk scene, you’d better let this one pass by.

Reviewed by D.M.K.

Tracklist:

1. The Age Of Decay And Democrazy (5:17)
2. Molti Piu Onore (4:24)
3. Gloomy White Sunday (6:39)
4. Occidental Identity (5:22)
5. Ganz In Weiss Und Ganz In Eisen (8:03)
6. Dressed In Black Uniforms (4:24)
7. Mother of Mercy (Version) (4:23)
8. Dumnezeu Exista / God Exists (1:24)
9. Sacrificare (4:18)
10. Palästina (HEP Version) (3:33)
11. Undefinierbare Sehnsucht (4:49)
12. Berg-Einsamkeit (4:47)
13. The Four Horsemen Of The Apokalypse (7:11)
14. Gloomy White Sunday (Version) (6:45)

Eclipse Review: Werkraum – Unsere Feuer Brennen! (2004)

admin — Wed, 04 Jul 2007 23:00:55 +0000

Original Cover

2009 Re-release

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

detailed info: discogs.com

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

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

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

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

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

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

Reviewed by CME

Tracklist:

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