Evening of Light » martyn bates

Cloudscape #15: June 2011

admin — Wed, 01 Jun 2011 19:05:56 +0000

Cloudscape #15: June 2011 by Evening Of Light on Mixcloud

time | artist | track | album | year

Eclipse Review: M.J. Harris & Martyn Bates – Murder Ballads (1994-1998)

admin — Sat, 28 May 2011 10:16:02 +0000

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

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

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

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

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

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

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

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

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

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

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

Reviewed by O.S.

Tracklist:

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

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

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

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

Cloudscape #6: September 2010 Ambient Special

admin — Sun, 05 Sep 2010 07:53:48 +0000

Cloudscape #6: September 2010 Ambient Special by Evening Of Light on Mixcloud

Time | artist | track | album | year

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: 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)

Eclipse Review: Martyn Bates – Mystery Seas (Letters Written #2) (1995)

admin — Mon, 06 Aug 2007 23:00:02 +0000

Original 1995 Cover

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

detailed info: discogs.com

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

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

2005 Reissue Cover

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

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

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

Reviewed by O.S.

Tracklist:

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

Review: Martyn Bates | Troum – To a Child Dancing in the Wind (2006)

admin — Wed, 28 Feb 2007 23:00:59 +0000

artist: Martyn Bates | Troum
release: To a Child Dancing in the Wind
format: CD
year of release: 2006
label: Transgredient
duration: 38:23

detailed info: discogs.com.

To a Child Dancing in the Wind is collaboration of singer Martyn Bates (Eyeless in Gaza, Twelve Thousand Days) and German ambient pioneers Troum (previously part of Maeror Tri). These tracks were conceived in the course of multiple years of editing and sending recordings back and forth. It has proven to be a fruitful effort, as this is a marvellous mini-album that will please both lovers of drifting dark ambient and of Martyn’s unique voice.

Now, this isn’t the first time Bates has teamed up with an ambient artist. Some may recall the series of Murder Ballads albums (Drift, Passages, and Incest Songs) that Bates recorded with Mick Harris (Lull) in the mid-90s. This album is quite different, though. The Murder Ballads were a combination of extremely minimalistic soundscapes, and Martyn’s ghostly renditions of traditional songs. To a Child Dancing in the Wind is somehow warmer, more direct, yet still with a dark atmosphere. The soundscapes (based on various instruments such as accordion, bass and balalaika) and vocals seem more in tune with each other, and mutually supportive, creating a beautiful and well-crafted whole.

The album is based on five poems by W.B. Yeats, presented with Bates’ usual emotional voice that is immediately recognisable. Opener “Mad As The Mist And Snow #2″ is one of the best songs, with a strong buildup of excellent drones based on accordion. But the song is carried by Martyn’s vocals and the subtle backing voices of Troum. “The Arrow” is a shorter track, with a slightly obscuring effect on the vocals. “The Magi”, though based on a poem, is an instrumental with a scary atmosphere, and it is dominated by Martyn’s harmonica solo. “I Made My Song” is completely a capella, with only slight vocal effects. Then follows the absolute highlight: the title track. “To A Child Dancing In The Wind” displays best the perfect synthesis of rich soundcrafts, voice and backing vocals. The poem is stunning as well, making this a breathtaking experience. The album ends with an instrumental reprise of the first track, with Martyn playing harmonica instead of singing.

For me, this is an instant classic, and it comes warmly recommended. All I can say is: “more, please…”

Reviewed by O.S.

Tracklist:

1. Mad As The Mist And Snow #2 (12:59)
2. The Arrow (3:49)
3. The Magi (4:55)
4. I Made My Song (2:44)
5. To A Child Dancing In The Wind (4:18)
6. Mad Reprise (9:38)