Album highlights:
1. The opener, "Three Jumps the Devil" (7:06) (9/10), surprises with the 1:45 minute glockenspiel bells and xylophone intro before a definite Post Rock/Math Rock sound kicks in--plus horns, strings,. Then the amazing voice of Robbie Wilson enters at 2:40. So reminiscent of some of the great folk/ psychedelic voices of the late 1960s! JESSE COLIN YOUNG, TIM BUCKLEY, DONOVAN, ART GARFUNKLE, etc.
2. The album's second song, "You'll Wait Forever" (6:29) is very much like a piece of classical chamber music--with, of course, the occasional voice lead angel Robbie Wilson. Unfortunately, the strings' lead melody gets repeated a bit too often, wearing thin on the listener. (8/10)
3. "Never Worry" (4:00) offers another church-like setting for Robbie Wilson's voice to grace us with. For some reason this song reminds me a bit of a song that crosses SIMON & GARFUNKLE with TIM HOLLIS. (8/10)
4. Unfortunaely, by the time song 4, "Thief" (7:26), rolls around, the music and slow pace is getting abit old. Still, "given a chance, "Thief" does change things up a bit: it is more of a story, less chamber/ church-like, and uses piano and drums, and contains, of course, an absolutely stunning lead vocal. At 4:40 the upbeat kick in reminds one of the true rockers of Post Rock/Math Rock. (9/10)
5. "Brightening Sky" (5:24) is a dynamically diverse song with the other diversion being the intermittent presence of a female vocalist with voice almost as angelic as Robbie's. (9/10)
6. At 16 minutes in length, song 6, "Rosa", is the album's longest. A choral presence accompanies the neoclassical music of the first 4:20. After that it softens to present space for Robbie's plaintive voice. In the tenth minute starts a true Post Rock/Math Rock song à la MONO--starting very slowly, very quietly, very minimally, while Robbie sings an amazingly angelic vocal--soaring above the notes of picked guitar strings and floating keyboards like Icarus to the sun. At 12:20 the music breaks into crescendo as if the heavens had burst open with rain or sunshine. This is a sensitive epic fit for any church venue. (8/10) An amazing song. If only I understood its objective. (Should I be on my knees?)
7. "Bye Bye Now" (5:33) tugs at one's heartstrings because of the presence of the spoken voices of small children. The integration of the child and mother's (and, later, father's) voices is done over the entire song, the first two minutes of which are constructed like a very slow dirge, over which Robbie Wilson begins singing--at first in solo, and later in chorus--at the two minute mark. The song threatens to pick up at 3:00 when the little child says "Bye!" but then quiets back down, lets the child and mother speak again, then takes the final minute to fade. At the end I find myself asking, "Why? What was the purpose of this song? What was he trying to say?" (8/10)
It is definitely a stunning album, start to finish. The long intros and exceptionally patient, delicate fades throughout the album make it an exercise in DELIUS/ELGAR/BRITTEN listening. Overall, I come away from listening to this album feeling as if I've just heard bits of FLEET FOXES and THE DECEMBERISTS playing over music by SIGUR RÓS, PAUL SIMON, DIRTY THREE, RADIOHEAD, and, of course, the three composer giants mentioned in the previous sentence. Despite the breathtakingly delicate, sensitive, beautiful vocals on display in
The Village to the Vale and the sophisticated 'modern classical' musical constructs, there is a musical sameness, a kind of
ennui that prevents me from giving this album 5 stars "masterpiece" status.
84.29 on the Fish scale = narrowly missing the 4.5 stars,
near masterpiece status. Thus, a solid four star record that is highly recommended as an excellent addition to any prog rock music collection. Check it out! Decide for yourself. But come to the experience with time, quiet, and patience: you'll be amazed at what unfolds.
Band leader, composer, and voice extraordinaire, Robbie (Lloyd-)Wilson, sadly passed away from cancer on December 13, 2016. His supreme talents have been taken from us far too early. We are so very fortunate to have this album as a testament to those skills.
IONA Another Realm (2011)
Astounding beauty. Memorable melodies. Mature, virtuosic performances. My disappointment with this album lies in the 'new' overt Christian message in Joanna Hogg's lyrics/message. On all previous IONA albums the lyrics have been more poetic, allegoric, the Christian message present but not so blatant, not so 'in-your-face.' Before, the poetry and imagery were able to blend in with the music. On Another Realm the band's music definitely plays secondary support to the lyrics' Christian message.
Favorite songs: the VAUGHAN WILLIAMS-like instrumental, "Rauch" (6:21) (10/10), the simple, straightforward, folk-poppy "Speak to Me" (3:30) (10/10); the incredibly gorgeous, incredibly powerful closer of disc 2, "As It Shall Be" (3:17) (10/10); four star songs: The East-meets-West spiritual "The Fearless Ones" (5:42) (8/10); the slightly-oriental (RYIUCHI SAKAMOTO)-sounding "Saviour" (5:07) (8/10)
A solid four stars though a disappointment when compared to previous IONA and IONA-related issues.
LUNAR CAPE Lunar Folk Tales (2017)
Using an interesting format by releasing three different versions of the same album, the first instrumental, the second with vocals sung in the band's native Russian, and a third with the vocals sung in English, LUNAR CAPE has an intentionally non-pop motivation behind their light, folkie jazz tunes. Gorgeous melodies abound throughout.
Olga Scotland – flute, recorders, tin whistle, mandolin, spring drum, sound effects, VSTi
Andrey Shashkov – bass guitar, basso recorder, vocals
Roman Smirnov – guitars, washboard old school custom, vocals
Paul Bulak – keyboards (3)
Grigory Shelehov – drums (3, 7)
Alexander Koval – drums (4, 8)
Shahid Rashid – vocals (8)
The instrumental versions:
1. "History Of The Moon" (2:43) opens with nice guitar arpeggio repeated until wooden flute (basso recorder?) and, later, treated wooden alto flute enter. Cool Northern folk intro! Almost a R. Carlos Nakai feel to it. (9/10)
2. "Nymph Syrinx Amidst The Stars" (5:37) delightful upbeat prog folk that sounds like it came from the flower children of the 1960s and early 1970s. (9/10)
3. "Doughball's Travels" (3:56) slightly more Russian/Eastern European informed Prog Folk here with balalaika, flutes, accordion and hand percussives weaving together with the electric bass and electric guitar. Could be a polka. Or a track from a Spaghetti Western. (7.5/10)
4. "Old Man Crawley And Wood Goblin" (5:10) slower and a little more sinister, the flute makes it a bit more disarming. Electric guitar tracks in the end of the second minute turn it back to scary, but they disappear within 30 seconds and we're then treated to a gorgeous flute solo over gentle electric guitar arpeggi. This is then followed/joined by odd/eerie male vocalizations before everything crumbles into the end. Interesting. (8/10)
5. "Blacksmith" (2:55) opens with electric guitar before mediæval wooden flutes bring in a mediæval folk melody (English). Halfway through the guitar starts strumming while mouth percussion (basso recorder) and breathy flute play off each other before returning to the pastoral beauty of the verses for the finish. (8.5/10)
6. "Who Brought The Berries?" (6:15) plays like a whimsical Rockabilly song with rodeo bass, drums and guitar play while flute and percussives play around above, between, and below. The frenzied flute solo in the end of the third minute is cool. A slowed down section soon ensues in which a bluesy pick-less lead guitar solo ensues (somewhat reminiscent of legendary Roy Buchanan). Flute joins in while guitar continues to perform its magic. Truly an astonishing guitar sound and solo! Then at 5:25 we return to the happy-go-lucky sound and melodies from the opening section. (8.5/10)
7. "Greedy Cousin Leprechaun" (4:29) brooding bass line opens before rapid-fire cymbal and fuzzy electric guitar "power" chords join in with a second electric guitar track of picking. Flute enters and takes the lead. Fuzzy guitar takes lead at 1:43 with a STEPPENWOLF-like solo. Flute returns in a higher octave. Flute, tin whistle, and guitar take turns in the lead to the end. (8.5/10)
8. What The Peacock Is Silent About (Oriental) (7:34) opens in a brooding manner like a song from RETURN TO FOREVER's Romantic Warrior album. At 1:25 the song shifts rather dramatically into a kind of C&W/Rock structure and sound over which flute displays the melody. Lots of neat shifts from the instrumentalists within the constantly changing weave here. Even the styles of flute play shift form time to time. Electric guitar takes a turn to deliver a 1980s-EDDIE VAN HALEN style solo beginning at 3:40. At 4:40 the bass takes a turn with minimal support (in a typical jazz style). At 5:40 guitar strums and Arab-sounding male chanting enter before bass and flute accompany. Cool section! The final minute feels like the end to a FOCUS or FROM.UZ song before emptying space for the wind-supported Arab chanter. (8.5/10)
84.375 on the Fishscales = B/four stars; a nice addition to the creative, jazzy edge of Prog Folk.
FAUN Midgard (2016)
As clear, well-performed and well-constructed as ever but, somehow, it's lacking the exciting freshness of past releases like Renaissance, Eden and Luna.
Line-up / Musicians:
- Oliver S. Tyr / vocals, Irish bouzouki, nyckelharpa, mandocello, celtic harp, saz, tar, guitar & various lutes
- Fiona Rüggeberg / vocals, bagpipes, flutes, rebab, recorder, fujara, seljefloit, harmonium, chalumeaux & pommer
- Katja Moslehner / vocals, percussion
- Stephan Groth / vocals, hurdy-gurdy, cistern, whistles
- Rüdiger Maul / darabouka, davul, bendir, tamborello, riq, berimbao & other percussion instruments
- Niel Mitra / computer sampler & synthesizer
1. "Midgard Prolog" (0:50)
2. "Federkleid" (4:42) opens with birds, harp and Fiona's wooden flute. Pretty. The band joins in with the strings and drums and handclaps before the big newcomer Katja Moslehner and the choir take over. Nice vocal arrangements but nothing really new here until the final 20 seconds. (8/10)
3. "Sonnenreigen (Lughnasad)" (3:54) OK, with Fiona in the lead, and a nice melody in the chorus, but nothing new here. (8/10)
4. "Alba II Intro" (2:00)
5. "Alba II Cello" (6:10) cello is a nice addition (8.5/10)
6. "Nacht Des Nordens" (5:34) features the dual voices of newcomer Katja Moslehner and founding member Fiona then joined by the guys for the chorus. The song just doesn't do much musically. (7/10)
7. "MacBeth" (5:57) a pretty musical base for Oliver to tell this ancient story. Nice melodies and delicacy. (9/10)
8. "Gold Und Seide" (4:35) the warbly vibrato of newcomer Katja Moslehner is interesting. (8.5/10)
9. "Brandan" (3:58) one of the better songs on the album because it has something new in its sound and construct--plus it features the solo pleasant voice of newcomer Stephan Groth. (8.5/10)
10. "Odin" (5:58) (featuring Wardruna) has a nice ominous feel to its opening joined, eventually, by multiple voices, a pair of males first (with Oliver in the lead), then background female banshees. Lots of whistles and ancient strings woven together in a kind of royal processional. The collective "choir" chanting in the middle is very cool. (8.5/10)
11. "Rabenballade" (5:03) crow, bouzouki and Oliver introduce this song. Full band join in with the first chorus. At 1:10 the instrumental weave doubles in thickness--which is nice. The drwn out second half has some really nice instrumental performances and tension. One of the three best songs on the album. (9/10)
12. "Lange Schatten" (3:33) opens with a very pastoral flute which is joined by Fiona's pleasant, relaxed, upbeat pretty voice. It could be a nature song or a maiden' innocent love song. (8.5/10)
Bonus Tracks
13. "Aufbruch" (4:54) pleasant song with a nice beat, nice low end, and great lead vocal by Stephan. (8.5/10)
14. "Alswinn" (3:47) a nice mediæval-sounding song with Katja singing in a pleasant lead. (8/10)
15. "Räven" (6:04) almost an Americana/C & W feel to it with Katja's pretty vibrato. (8/10)
Total Time: 65:59
The album just lacks much in the way of surprise and buildup/crescendo, the songs mostly flow at one speed without any tension or drama. The focus of the album, I know, is to explore "ancient" Scandanavian folk songs, but the music just needed a little more spice.
I don't get the addition of the "bonus tracks"--why aren't they just considered part of the album from the first place. I guess for the limitations of vinyl pressings.
83.5 on the Fishscales = four stars; B; a nice album of folk songs performed on period instruments but nothing extraordinary or essential.
KOSMOS Salattu Maailma (2013)
Salattu Maailma is an album of diverse folk-rock from Finnish band, Kosmos, stretching from outright progressive rock of the opener to more of a country-folk of “Loitsu,” to pastoral prog folk like “Simpukka,” then to a more eerie ballad form of “Tuuli” and then to the realm of psychedlia with “Uni.” All of it is very nicely composed, performed and recorded.
“Salattu Maailma” (“A Hidden World”) (6:59) begins with a very MOODY BLUES/IN THE COURT OF THE CRIMSON KING feel and sound. When lead vocalist, Päivi Kylmänen arrives, the instrumental support includes beautifully finger-picked acoustic guitar, simple drum and bass with intermittent flute. Mellotron returns during the harmonized chorus. The instrumental C section between 3:05 and 4:30 is gorgeous and surprises us with a treated spoken voice in its middle. I cannot imagine a prog folk song being more beautiful or perfect than this one. (10/10) (Sorry that the YouTube link is only to a sample--the first three minutes--of the song.)
“Simpukka” (“Seashell”) (4:07) opens with the sound of waves and seagulls at the seashore. A finger-picked acoustic guitar gently introduces a “Here comes The Sun”-like melody and sound before Päivi joins in to punctuate this George Harrison theme. A very pretty folk song accented by flutes and a little Mellotron. (8/10)
“Loitsu” (“Incantation”) (4:13) incorporates a much more straightforward folk-rock sound with strongly strummed acoustic guitar accompanied by drums, bass and, of course, the delicate vocals of Päivi Kylmänen. In the third minute a fiddle pops in for a folksy solo. Nothing very proggy, exceptional or even memorable about this one. (6/10)
“Pelli” (“The Mirror”) (3:28) is a traditional sounding folk song which happens to beautifully showcase Päivi’s extraordinary vocal talents. I am here reminded of Sandy Denny, Jane Relf, and the other female masters of the 60s folk rock tradition. (9/10)
“Tuuli” (“The Wind”) (7:04) opens sounding very much like a classic JOHN MARTYN song—complete with that haunting Echoplex guitar sound. The chorale voice approach used here is also incredibly effective for reinforcing the eery feel of the song’s opening. At 2:30 the song shifts as strumming acoustic guitar and bass and drums take over instrumental support for the “chorale” vocal singer/story-tellers. Melotron sneaks in during the fifth minute in a MOODY BLUES kind of way. Fiddler reappears for a pleasant solo in the sixth minute, giving the song more of a Celtic feel than it may have had before. (9/10)
“Uni” (“A Dream”) (7:35) opens with the sounds one would associate with war-time air raid: sirens, bombs, screams, and the surprising silence and stillnesses of the bewildering aftermath. At 1:30 a male spoken voice begins telling a story over the sparse and discordant musical notes and sounds lilting in the back- and foreground. Near the three minute mark a gentle bass, almost imperceptible organ, Hammond synth/organ take over the song’s soundscape—periodically joined by a n early-FRIPP-like fuzz guitar. (9/10)
“Takaisin Virtaan” (“Back to The Stream”) (5:21) has very much the same feel and sound as the Rolling Stones’ classic “You Can’t Always Get What You Wanted”—same melody line and same pace, hand percussion use. Nice song but a little too familiar. (7/10)
Salaattu Maailma is a beautiful, though short album with some quite pleasant and memorable music by the angelic voice of 60s throwback Päivi Kylmänen. Back to the beginnings of Prog Folk.
82.86 on the Fish scales = Solid four stars.
