AES SIDHE

"Aes Sidhe" refers to a race of elf like somewhat moody creatures from Celtic mythology, and self taught Cordoban multi instrumentalist RAFAEL PACHA here expounds upon his musical interests in that region, not to give the nearer Galicia or Brittany short shrift. I have only begun listening to Pacha's solo work and detect an evolution from largely instrumental traditional and traditional sounding work in the vein of ALAN STIVELL, early CLANNAD, MIKE OLDFIELD's pastoral explorations and cross countryman HEVIA, towards more of an art rock approach that might appeal to NICK MAGNUS fans while still retaining ties to his roots. More about that on another page soon, hopefully.

I admit to listening to the 2020 remaster of this 2000 release, and am thrilled with the clarity of the production, which I find so critical to quickly dispelling my fears around yet another album of jigs, airs and reels that somehow slipped into PA via some alchemic time travel exercise, in this case perhaps the work of these same "aes". But no, this is prog enough for some and those credentials are thankfully boosted over the next 20 years.

The opening number seems to be Pacha's signature tune, an elegant arrangement of acoustic guitars, whistles, and guest uilleann pipes, the easiest on the ears of the Celtic pipes, which alternate in reflectivity and urgency. "Winter Song" is atypical, the only one with vocals, guested by Eugenia Navío, with an ambient arrangement somewhere where vocal floaters like ENYA, TRIONA NI DOMHNAIL, CONNIE DOVER and ELAINE MORGAN all escape to shed their earthly encumbrances. The second half becomes more engaging and not unlike the previous track. The album really gains momentum with "Bean Sidhe" (or Banshee if you prefer), "Broceliande", and "Ossian (fawn) by the Door", which feature more sparkling performances on guitars and winds, and just enough shifts to give the dancers a rest and the sitters their turn upon the warm damp ground. The lead guitar appears later in a couple of these and is expertly integrated. A later highlight is "Musli Clone". On the downside, this is still a tad more trad than I prefer, and I think even in 2000 I would have been aching not to hear any more versions of "Carrickfergus".

It's hard to hear a guy who would eventually form Finnish prog musical partnerships on this debut, but for its style this is a commendable work that hopefully mesmerizes the lively if unpredictable spirits to which it plays homage.