skip to main |
skip to sidebar
Romanian ensemble AETERNUM was formed at the tail end of the 1990's, with guitarist and composer Claudiu Contiu as the core member and a fluid cast of members otherwise. They released two albums and one DVD before activities winded down, and currently they are in some sort of hiatus I believe. Although that may of course change. "Ancient Beauty" from 2000 was their first release, and while the original version is no longer available to my knowledge, the reworked version from 2008 can be found at most any digital music retailer you can name. And it is this version I have been sent by a good friend so that I could write about it.
The name of the game here is old music, medieval style. Folk music, but of a particular character. This isn't the tunes the wandering minstrels would perform at the local pubs and taverns for a meal and a drink back in the day. Or rather, while the compositions as such might be just that they were never performed in these arrangements to the public at large back then. Perhaps with the exception being some major fairs, tournaments and other major events. Instead we're dealing with folk music as I would imagine was played and performed by ensembles and groups to the higher class back in the middle ages. Richly arranged, with chamber music qualities, music of a kind I would suspect might be heard on chosen occasions at castles and manors. If at all, that is.
The thing is that medical chamber music most likely is more a fact of medieval fantasy than medieval fact. It is a ploy and sound collage often used in moves and TV-series, but if there ever were actual resources and interest in musical arrangements of this character back in the day I don't know. That's something historians with a special interest in culture will have to answer. But the associations one gets when listening to this music is as described above.
In the case of Aeternum the acoustic guitar have replaced the lute though, and the flute and violin possibly much less used than when the songs covered were written, or in some cases where the compositions inspired by de facto medieval music was constructed. I haven't tracked the origins of these songs, so I don't know if they are all creatures of their time or if some are contemporary cultural fantasies.
Be that as it may be. Acoustic guitar, hand drums, flute and strings are at the core here, in compositions either melancholic or uplifting in spirit, with a slightly timeless feel to them that will transport the mind of the listener back to the days of yore. Music of the kind that the people behind computer games such as Dragon Age and Elder Scrolls, in a perfect world, should have bought and used as soundtracks for their fantasy worlds, as they would have fitted in perfectly.
Medieval chamber music with the heart and soul in folk music rather than classical music is what "Ancient Beauty" is about, and at least partially contemporary rearrangements of ancient material at that. How much of it that is actual medieval music and how much that belong in the realm of medieval fantasy I don't know, but it is a pleasant musical experience, performed excellently by skilled musicians. If you like this type of music this is a band that you should investigate, if you don't then this act won't convince you. But it is a high quality specimen of it's kind.
My rating: 63/100
Track list:
1. Packington's Pound 4:47
2. Bransle de Champaigne, 1552 3:32
3. Allemande 2:54
4. Ballet de Bygot 4:03
5. Bransle de Poictou, 1552 3:59
6. Playfellow (A Jig) 2:14
7. S'amour souspris m'a 3:51
8. Branle Anglais 3:54
Swedish quartet MY BROTHER THE WIND appeared unexpectedly a few years back with their self-titled debut album, a constellation of well established musicians that seemingly out of the blue had decided to form a side project rather different in sound from what they explored in their primary projects. It was a creation well received, and many will eagerly have awaited their second production. "I Wash My Soul In The Stream Of Infinity" is their sophomore album, and was released by Swedish label Transubstans Records in the fall of 2011.
My Brother The Wind is one of many bands exploring instrumental improvised progressive rock, made with an approach and sound that place it within the space rock genre. Floating, often ethereal arrangements, gentle guitar soloing and layered, wandering psychedelic oriented instrumental motifs make up the majority of such excursions , and this foursome is no exception to that.
Opening or concluding with passages featuring arrangements of a more searching and uncertain nature is a part of the package one gets too, and again a feature found on this production. Perhaps a bit too many such sequences, at least for those not already fond of this type of music. It dos take something of a trained ear to appreciate these moments. But it's when the band have found a direction and is exploring it with direction in hand that improvised space rock is an intriguing experience, and this quartet are top of the trade once they have established a pattern to investigate.
The rhythm department is the essential foundation for most bands of this ilk, and My Btother The Wind has a most excellent one. Tight, finely interwoven bass and drums motifs that shift pace and intensity in a fluid manner a strength the other instrumentalists can rely upon. And they do so in an impeccable manner, from the tight, energetic and driven landscapes explored on opening construction "Fire" Fire" to the raga-oriented themes of Pagan Moonbeam, complete with a Bo Hansson oriented organ motif, and the final gentle concluding title track "I Wash My Soul in the Stream of Infinity". Always nicely moving onwards, with a dual set of guitars or guitar and one additional instrument wandering through an initial phase fully formed or not, coming through on the other side either finishing off a journey or reorienting themselves to take on a new one. Personally I found the band to be at their very best on "Torbjörn Abelli" on this occasion, an improvisation I presume was developed as their musical tribute to the late Swedish bassist of the same name who passed away in 2010. Rather fitting that this construction is the one that made a most profound impression I guess.
I doubt if My Brother The Wind will recruit any new fans to the realms of improvised space rock with this production, as their excursions this time around to my ears appear as somewhat more typical of the genre than on their most excellent debut. But those who already enjoy music of this type can note down this CD as another must have creation, the band is excellent and their ideas and improvisations maintain a high quality throughout.
My rating: 83/100
Track list:
1. Fire! Fire!! 13:07
2. Pagan Moonbeam 3:47
3. The Mediator Between Head and Hands Must Be the Heart 5:40
4. Torbjörn Abelli 10:57
5. Under Crimson Skies 10:33
6. I Wash My Soul in the Stream of Infinity 6:19
Swedish band SIENA ROOT has been around in one form or another since the late 1990's, with a few dozen past members and half a dozen or so current ones, but based around a core trio of musicians from my understanding. They released their debut album back in 2004, and since then three more full length studio creations have been released to a, to my understanding, steadily increasing fan base. "Root Jam" is their first live album, and was issued by Swedish label Transubstans Records in the fall of 2011.
Back in February 2012 I had the good fortune of seeing Siena Root performing live in Gothenburg. A splendid live band, preparing their live performance with care and attention to detail so that they can really flaunt their skills on stage later. One can say a lot about studio albums, but a well honed and well prepared band that create music suited to live performances will more often than not be better to experience in such circumstances rather to be investigated through a more polished studio creation documented on shiny plastic. Or good old fashioned vinyl, a format this band has a deep affection for it would seem, as all their productions are available also as LPs. Including this live recording.
Anyhow, this double disc set documents Siena Root's skills as a live band in a very nice manner. From my own experience with them I'd guess that there's little if any amount of doctoring added to this recording, as the vitality of their live performance have been captured quite nicely thank you.
As a band we're dealing with an entity firmly rooted in the 1970's. Black Sabbath tinged stoner rock sit side by side with harmonic inserts many Wishbone Ash fans will find pleasing, gentle organ passages that makes me think about Bo Hansson have their place here, so does more majestic parts closer to the likes of Deep Purple or Atomic Rooster, and there's even a fair few sequences that to my ears sounds like Black Sabbath organ style. Spirited hard rock sequences closer to Led Zeppelin is another rather common feature. An amalgam of the greatest from the 1970's book of sophisticated hard rock assembled into one tight package if you like, but with an overall sound very much their own despite the numerous references. Oh, and let's not forget about the improvisational nature of many songs, where the instrumental parts may veer of into shorter or more elongated instrument runs of the kind that you just don't record on studio albums.
Another aspect of this band's repertoire is the inclusion of elements from the psychedelic realms of course. What appears to be a violin but might as well be a hurdy gurdy makes the occasional appearance, for final track "Reverberations" I suspect it has to be the latter for sure in a raunchy, energetic duel alongside the organ towards the end. And adding even more psychedelic details to the proceedings the rather more widespread use of sitar, most prevalent in the songs whose titles doesn't appear to give much meaning for an English speaking crowd. Smells like India and sounds like Raga, to put it that way. And in a good manner too I might add, the brief "Bhairavi Thumri" one of the distinct highlights of this performance, despite the subdued and acoustic nature of this little gem. Speaking of which, the most sparkling gem of all to my ears is the one track on this performance that is vastly different from all the others, namely "Words". Another acoustic oriented performance, this one taking a deep excursion into jazz territories in a manner that makes me think of good, old Django and the countless artists he inspired.
All in all a high quality live album by Siena Root, well worth purchasing if you enjoy a band that takes pleasure in exploring the refined parts of 70's hard rock, liberally flavouring their music with more or less subtle psychedelic inspired details, and occasionally making detours right into the middle of that particular stylistic universe.
My rating: 83/100
Track list:
Disc 1:
1. Introduction 1:52
2. The Rat 3:25
3. Waitin for the Sun 7:56
4. Bhimpalasi 8:15
5. Into the Woods 8:28
6. Words 12:47
Disc 2:
1. Trippin 4:56
2. Bhairavi Thumri 4:44
3. Dreams of Tomorrow 3:58
4. Long Way From Home 9:57
5. Rasayana 8:55
6. Reverberations 16:44
Swedish band REFORM has been around in one form or another since 1998, sporting a list of past members during those years that's a fairly impressive read in itself. One might get the impression that this is a fluid, organic collective of sorts rather than a firm band unit actually. Be that as it may be, in between what appears to be numerous line-up alterations they have released a fair amount of material over the years, and "Reveries of Reform" from 2011 is their sixth album to date, and the first of their productions to be issued by Swedish label Transubstans Records.
One of the less pleasant tasks about describing any given album is to put it into a context. Not because it is a difficult part of the proceedings in normal cases, but because one tends to repeat oneself while doing so. There's a limited amount of references to be made after all, be it from a stylistic point of view or one that draws in references towards well known artists. In the case of Reform we're dealing with the odd one out however, as for my part I haven't quite managed to find any useful comparisons one way or the other. Jazzrock and fusion are just as much a part of the proceedings as psychedelic rock in this case, and there's also room for a few symphonic oriented escapades. As such, one might describe Reform as a band that will make the dedicated music fan reflect upon just how few alterations that needs to be implemented to switch from one style to the other, and just how closely related the aforementioned types of music really are. For some, this production might be a real eye-opener I'd guess.
But the core foundation of this band's output is placed well inside the jazzrock universe. Wandering piano motifs and elegant guitar soloing the name of the game, with steady but accomplished bass and drums underscoring. Mostly instrumental in nature, vocals are limited to two compositions. The first of the two CDs that makes up this package is the one where the borders between jazzrock and symphonic art rock appears to be explored most profoundly. The majority of pieces purebred jazzrock 70's style in expression, with bass, piano and guitar taking turns being the driving instrument, and with a neat additional level consisting of instrumental details rather than lead motifs occasionally taking over as thematic elements. But also when the lead motifs are more substantial in nature and catered for by one instrument only, the use of subtle fragmented instrument details and sounds are utilized throughout as a manner in which to add variation to the proceedings. Dampened arrangement details that will please many dedicated music fans who really like to listen closely and intently to their music. But the disc also sports a few items where the keyboards gets to have more of a saying, and in a symphonic oriented manner at that. Moments of pastoral, simple beauty to more majestic constructions, first and foremost taken on in the second half of the first CD.
The second disc in this package appears to examine the borders between psychedelic rock and jazzrock closer. Again a disc made up by some purebred jazzrock efforts and others with a style less easy to define, and with what to my ears appears to be a slight emphasis on sequences with an improvisational nature to them. The most profound instance of the jazzrock and psychedelic rock blend is found at the very end, the close to twenty minutes long epic "From the Hilltop and Beyond" showcasing just how little separates the two styles in question in a beautiful and sophisticated manner. And while this nature of their music is explored more intently on this second disc, there's a fair amount of this case to be found on the initial disc too of course. "Reveries of Reform" isn't as divided in sound between the two CDs as one might get the impression of while reading my descriptions, it's more a case of a slight emphasis on the different aspects that marks a subtle difference between them.
A general approach throughout this production is the way in which just about everything has been given a subdued character. Contrasting instrumental motifs are dampened, rougher sounds subdued, the arrangements polished. Those who are in need of dramatic movements and inserts will be left wanting, those who desire raw emotional takes will be disappointed. This is an album where the subtle details rule, set within a polished, refined framework. Music for the sophisticated listener one might say, and while refined in character the music is also fairly accessible throughout. Easy on the ears and the mind, yet with enough advanced features to satisfy the dedicated fans that really enjoy immersing themselves in whatever music they listen to at any given time.
And as admirable as this approach is, this also does leave an impression of this production being ever so slightly one-dimensional, at least on a superficial level. An aspect of this double CD that may limit the band's audience somewhat in progressive rock circles, but which also might pull in a substantially larger crowd from a more mainstream oriented audience.
Overall "Reveries of Reform" is a solid effort, and one that should appeal to art rock fans that appreciates a polished sound and smooth arrangements, compositions with plenty of subtle details to be enjoyed and of a generally accessible nature. With jazzrock as the stylistic foundation, with liberal flavouring of psychedelic rock and occasional excursions to the borders of the symphonic art rock universe.
My rating: 77/100
Track list:
1. Another Happy Landing 8:03
2. Tax Vobiscum 6:24
3. Mitsuhirato 7:05
4. I Furuskogen 8:12
5. Nuclear War 6:22
6. The Faithful 7:50
7. Madame Riot Lajath 10:23
8. Little Vienna 9:14
9. Align 9:49
10. Three Part Dream 7:10
11. Uncle Urri II 6:24
12. From the Hilltop and Beyond 19:45
Italian quartet JOHNFISH SPARKLE first appeared as a trio with their debut album released by Swedish label Transubstans Records back in 2009. Since then a fourth member have joined their ranks, they've played quit a lot live I believe, and in the fall of 2011 they released their second full length production "Flow", again opting for Transubstans to handle that particular matter.
On their initial effort, late 60's and early 70's hard psych bands catered for many of the musical touched I found myself associating with this act, perhaps with a few touches followers of early Rush might find to be familiar sounding. And while the former is less of an issue this time around, the latter still remains a tendency for this trio come quartet out of Southern Europe. And the main scope of their sound has moved forward a few years, now apparently residing closer to the mid 1970's in general and at times rather close to one of the giants of that era in particular.
At their best for this follow-up album we're treated to material made up by energetic, refined drum patterns, a driving melodic bass motif and lighter-toned guitar replicating the latter in a sophisticated manner by way of fluctuating riff patterns with clever use of impact riffs, and frequently adding a great deal of psych tinged to the expression. And on top throughout: The distinct vocals of Maurizio Morganti, a singer who comes across as the slightly more relaxed kid brother of Robert Plant.
And when that is said, it shouldn't be at all surprising that it is the mighty Led Zeppelin that appears to have branded this production with their legacy. In compositional structure, the manner in which many riff patterns and movements have been assembled and the vocals are the threefold elements that contain most of the association inducing elements for me, although the rhythm section does have good tendencies as well. But also with nods towards the aforementioned Canadian proggers, or perhaps to the bands that in their time inspired them, and all of it given a liberal psych-oriented flavouring.
At their best, Johnfish Sparkle conjure creations that wouldn't have been out of place on a Zeppelin production. The high point for me the obviously blues-drenched Downhill Blues, that opens as a slow, intense blues rock affair that gradually grows into an intense monster of a bluesy hard rock construction. But also the two opening efforts and Spiral Confusion are high quality endeavours I imagine will interest fans of good quality 70's hard rock in general and fans of a certain aforementioned act in particular.
The second half of this disc comes across as slightly more generic however. Intense and energetic songs, with many fine performances and clever details, but without the undefinable magic of the opening cuts. Even slight touches that may be inspired by the likes of Jimi Hendrix or Robin Trower appear to be pleasant rather than vitalizing, and I suspect that for these numbers the recording studio haven't managed to capture the essence of these songs good enough. A piece like A Phoenix Flight in particular a creation I suspect is a real monster when played live.
A Fine album with some moments of true magic is what Johnfish Sparke presents with their sophomore effort "Flow", a production recommended to fans of mid 70's hard rock in general and fans of Led Zeppelin in particular. And a band I suspect will be very well worth experiencing in a live setting for just this audience.
My rating: 72/100
Track list:
1. Hard Times Goin' On 5:03
2. Benzai-Ten 5:18
3. Downhill Blues 8:41
4. Spiral Confusion 5:12
5. The Circle 5:37
6. The Traveler 4:52
7. Gaudi's Run 1:45
8. Not Alone 5:23
9. A Phoenix Flight 6:18
10. Crazy Lady 4:46
Swedish band CHILLIHOUNDS first appeared back in 2006 or thereabouts, and have three albums to their name at the time of speaking. Their two initial albums were released by Italian label Nicotine Records, but then they signed with Swedish label Transubstans Records for their third and most recent production "Shake Your Skull", issued in the fall of 2011.
Transubstans Records is a label well known for a roster of bands exploring the sound of the 1970's, with progressive rock and stoner rock as some of their specialities. But in the case of Chillihounds, the label deviates a bit from that particular norm, as this is a band with a rather different touch.
In short we're dealing with a band that may as well be described as good time party 'n roll. With a 70's feel to their material, but probably based around the mid to late part of the decade in terms of style. The compositions are brief, by and large simplistic in nature and with a broad appeal. Steady drums is the backbeat throughout, while darker toned, circulating and insistent bass motifs forms the main drive. Lighter toned guitar riff patterns wander joyfully in fluctuating patterns on top, while the versatile and powerful vocals of Gabriel Aadlan caters for the lyrical aspect.
In style we're talking blues based hard rock, with more than a touch of boogie in expression. AC/DC is a common association throughout, but in a manner that see the aggressive tendencies of this fine band from down under replaced with the laid back sound and arrangements of a band like Status Quo. Dirty Deeds All Over the World if you like. But rather than staying put within that one-dimensional sound, Chillihounds also add a touch of additional blues to the proceedings, in a Southern manner as on the lightly Allman Brothers tinged Evil Mind Blues or in a Texan-oriented manner like the subtly ZZ Top flavoured Control. The carefully blues enhanced details actually adds something of a US touch to the album throughout, even when the band does explore songs that AC/DC in particular could have added to their set list without anyone raising an eyebrow.
Be that as it may be, Chillihounds is a band that know what they want to do, and they do it very well. Not in an original manner and certainly not adventurous, but if you're looking for the perfect soundtrack to an evening filled with fun, fun, fun - and probably lots of beer to boot - Chillihounds is a very good choice. Blues based, boogie drenched hard rock of the kind that makes the world a better, or at least happier, place to be in.
My rating: 82/100
Track list:
1. No Vacation 2:43
2. Taking Off 3:52
3. Back in the Game 3:00
4. Evil Mind Blues 4:24
5. Cain 4:28
6. Mark of Cain 1:30
7. Heartbeater 4:29
8. Love Pays No Rent 3:36
9. 1979 4:03
10. Control 4:56
Swedish act OBRERO was formed back in 2007 by members with a background from bands from the more extreme parts of the metal society. What brought them together was a shared fascination for one of the oldest relics of the metal heritage: Doom metal, in it's original guise as well as the subsequent developments of this stylistic expression. They signed to fledgling Swedish label Night Tripper Records in 2011, who subsequently released their debut album "Mortui Vivos Docent".
I'll readily admit that my exposure to metal after 1990 or thereabouts have been limited, and that my recollection of bands and genres is that of an old fart, and rather heavily flavoured by a few years worth of writing covering bands more or less well placed within a progressive orientation. As such, some of my associations will probably be out of date, expired and buried. Or perhaps pointing towards originators who have influenced acts that these guys have listened to. Be that as it may be, Obrero is a band that have made a good impression on me.
Doom metal can be rather varied in style, from sludgy, droning excesses to acts replicating the grandfathers Black Sabbath to the point of total boredom. But references to the original doom metal band is an ingredient that has to be in place for bands exploring this style, and Obrero is no exception there. Those familiar with Tony Iommi's works over the years will find his footprints all over this production, or at least arrangements and compositional and performance approaches that documents the legacy of his groundbreaking endeavours. This Swedish act does add a few pounds of lead to the mix however, darker and heavier the main keywords covering that aspect. And when they opt for passages with a slower pace, I'm reminded of another Swedish band, namely Candlemass. Which, presumably, is a reference just about as clichéd as the aforementioned British founding fathers I guess. Obrero does opt for sequences of a darker and more ominous nature too however, adding some subtle guitar details that makes me think of another veteran act: Celtic Frost. An association that might be a tad farfetched, but that has stuck rather firmly in my mind.
Moving onwards from the namedropping department, there are quite a few details about this production that caught my fancy. Effective use of impact riffs in circulating or fluctuating riff patterns for starters, and in particular when flavoured with subtle harmonic guitar overlays. Always a welcome setup for me, the nuanced but hard hitting arrangements constructed in such a manner something I'm a sucker for. The use of keyboards (Mellotron of some kind?) warms my heart and soul too, the sheer bombacity and stark contrast of dark, massive guitar riffs and light-toned, ethereal keyboard textures a combination that many progressive rock fans tend to be fascinated by. And to pull out a couple of favourites: The Fourth Earl, the best representative of the harder hitting, massive sounding part of this band's repertoire. And Exterminate, as the most intriguing of the sophisticated constructions. As my ears and my mind experience this disc admittedly.
A composition worth mentioning a tad more in detail is Charles the Hammer. This multiple themed affair is an interesting one, the initial Sabbath-tinged part almost joyful and positive in spirit, followed by a harder hitting, intriguing transitional phase, and then exploding into a chorus of stellar quality: A simple shouted line, with majestic strings on top and doom-laden riffs beneath. Pure dramatic brilliance. The main ingredients of the chorus also given a run in a slightly different setup later on, to good effect. Not a perfect sonic experience as such, but a song you'll play over and over, eagerly awaiting the grandiose explosion of this perfectly constructed chorus section.
If you tend to like your metal served with a hard, dark and heavy flavour encapsulated within a sophisticated doom-laden framework, Obrero is a band you should enjoy and "Mortui Vivos Docent" a CD you'll most likely want to add to your collection. A fine specimen of the genre to my ears, with quite a few moments of sheer brilliance to savour.
My rating: 83/100
Track list:
1. The Wolf's Hook 6:15
2. Son Of Tutankhamun 7:38
3. Svantovit 4:58
4. The Fourth Earl 4:38
5. Octaman 4:35
6. Charles The Hammer 6:38
7. Exterminate 6:28
8. The Lost World 6:30
Romanian ensemble AETERNUM was formed at the tail end of the 1990's, with guitarist and composer Claudiu Contiu as the core member and a fluid cast of members otherwise. They released two albums and one DVD before activities winded down, and currently they are in some sort of hiatus I believe. Although that may of course change. "Ancient Beauty" from 2000 was their first release, and while the original version is no longer available to my knowledge, the reworked version from 2008 can be found at most any digital music retailer you can name. And it is this version I have been sent by a good friend so that I could write about it.
