IMMACULADA

A few things got me hooked into hunting this one down. Firstly, the fabulously descriptive 'memowakeman' review simply found a whole lot of resonance with me, the melancholia and the folkish feel are perennial soft spots for my ears. Second, I am a 'johnny come lately' to the Anathema phenomenon, working my way from today to before, subsequent to a chance September 2012 concert in Budapest that just blew my mind. Thirdly, a pure white misty cover always seems to seduce my attention (my first ever LP was the Beatles White album and my all-time favorite recording is the Strawbs "Hero & Heroine"). My car is white too!

Ion is a real head shaker, really askance from the Anathema style, with no harmonic guitar wallops here. The style is more romantic, melancholic, pastoral veering towards Gothic and Celtic with little guitar electricity, in fact the main instrumental weapon is mandolin, which is never a bad thing in my book. Distant hints at Clannad, Shine Dion and Dead Can Dance, but that tells only a little of the true nature of the spectral music presented here. Contemplative without being boring, enchantingly dynamic and serenely profound, Ion is a shimmering sheen on a tranquil lake, the sun caressing the browning leaves. When people ask me "what's the big deal with prog", I always seem to answer "it's a sonic travelogue, a musical picture postcard", which is why it is so wholly suited to the art of movie soundtracks. This is a fine example of that premise, as English, Romanian and Spanish are used to convey the adventure.

A forlorn voice intones "Tu eres la salvacion", then a clanging acoustic guitar dallies with a slashing violin, a distant light far way on the horizon , beckoning and enticing one to follow into the darkness and search out some unknown Shangri-la, unafraid and yet breathless. A perfect intro.

"Temptation" certainly evokes some strong biblical impressions, wearing a spellbinding Arabic motif and the spiraling voice of Lisa Cuthbert, a musical cobra hypnotized by the numbing sandstorm of sounds. Though highly repetitive, it never bores for one second, showcasing a sense of vastness and grandeur that only the desert can hope to provide.

It's somewhat companion piece has a more Christian feel, thus evoking similarities with the great band Iona, a tabernacle of vocal "Adoration", heavily buffeted by tingling mandolin (What a gorgeous instrument that is!), religiously caressed by flute adornments and a strong sense of Celtic dynamics. The contrast between Arabic and Gaelic styles is immensely impressive, as if telling both sides of some past Crusade.

Another absolute highlight is throbbing beauty of "Damhsa Na Oceithre Ghaoth", an invitation to dance to instrumental Celtic magic, deeply resonating as well as pulsating, a musical form that will never die, so deeply rooted in traditional European culture going back to the Roman and Greek Empires (and still very much alive in Portugal, France, Ireland, England, Wales, Scotland, Scandinavia, Spain, Portugal, and Hungary). There are some similarities to Mike Oldfield's otherwise fabulous "Voyager" album (another sadly misunderstood work from the master). The flute, violin, mandolin, a sudden relentless bass and rumbling drums play a vital part in enhancing the mystical feel of this tremendous piece.

"Invidia" is another stunner, entirely driven by mandolin, percussion and the magnificent voice of Lisa Cuthbert, this time in a way more medieval mode, crushingly attractive and thoroughly enthralling. Has a similar feel to the latter piece "The Silent Stars" and is another total winner.

Cooling raindrops introduce the ghostly "Cetatea Cisnadioria", a castle /museum in Transylvania, a mystical and oft misunderstood region that culturally unites Hungarians, Romanians and Germans and remains deeply rooted in folk traditions that defy time and space. The 10 minute + ambient epic is the longest piece and what a magical ride it is! Spoken word in Romanian and a haunted organ give this piece its initial letters of noblesse, then swerves into abysmal ethereal expanses, with extended wail vocalizings (a gentler version of The Great Gig in the Sky) that hint at the Turkish conquest, a historical fact that the locals have no intention to ever forget. A violent thunderclap serves as a final reminder.

The achingly beautiful "The Silent Stars" only reinforces the mesmerizing qualities that have enchanted us earlier, showing both vision, consistency and creativity. I cannot help but to be reminded by that fleeting late 80s alternative act This Mortal Coil, the ability to marry the various vocal ingredients into a Gothic/Medieval background. Gently swaying, soothingly repetitive and utterly sensual. I know a few ladies who would just swoon listening to this!

"Return to Spirit" is finally more syncopated, a doom-laden boom-boom beat over both whispering voice and wailing backing vocals, slashed by what sounds like a 'cimbalom' (Hungarian dulcimer). This is a merciless killer track and thus creates some very vivid images in the listener's mind, a sense of foreboding, primal fear and impending salvation.

"Tu eres la salvacion!" Gracias Guillermo!

4.5 Transylvanian boogeymen