HAUL AR YR EIRA

Pererin's debut feeds off some of the more rooted material on predecessor Bran's impressive album "Hedfan", to produce a blend of psych, folk progressive, at times spacey styles that is nothing if not eclectic, but also simply stunning. Timeless melodies abound, surpassed only by the haunting manner in which they are arranged.

The very opener combines harp, acoustic and lead electric guitars, flutes and whistles as it breezes through a variety of themes in less than 3 minutes before vocals appear almost as an afterthought in the last half minute. Such is the essence of Pererin and their ability to create concise and unpredictable progressive soundscapes within a decidedly folk framework.

From here to the achingly beautiful finale sit 8 more exercises in pushing the boundaries of virtually every Anglo-Celtic folk idiom known. If I can make any comparisons it would be to some of Runrig's earlier material, except I rather doubt either group was highly influenced by the other given the timelines. It was more like a case of seasoned Celtic musicians, having being influenced by prog rock of the 1970s, deftly applying it to themes of a critical nature to their survival as a language and culture. Pererin upped the ante by singing steadfastly in Welsh, and few could argue that both the male voices of Arfon Wyn and Charli Goodall, and the inestimable high pitched Nest Llwelyn are beyond reproach. They are best when they occur together as on the eerie, mellotron bolstered "Can y Melinydd", with its hypnotic chorus. It is hard to believe this is traditional, but clearly Pererin has resurrected it and turned it on its ear.

Nest does not lay an egg when she goes it alone on the verses of the slower but equally entrancing "Ni Welaf yr Haf M", and she is joined by the men folk on the chorus. The near accapella break is quickly supplanted by truly arresting harmonies, including Nest's wordless accompaniment that leaves me speechless. Another worthy mention for progheads is "Llongay Caernarfon", which again goes the harmonious route but includes scorching leads and a rhythm to die for. The credits show that only specialized ethnic percussion is used, but conventional drums are not missed.

I could dive into detail on all the others, but suffice to say you must hear them, as the juxtaposition of styles and tempos could not be more skillfully presented, both within and between songs in the running order.

Pererin is nothing if not obscure, and their debut is now the hardest to find. While we can safely say that a financial windfall did not result from this or their subsequent efforts, they succeeded brilliantly in revitalizing the music of their homeland by fusing it to progressive rock in what can only be described as a major artistic triumph.

Hauntingly beautiful

My thanks to one of my favorite reviewers Kenneth Levine for introducing me to this group.

"Haul ar yr Eira" is one of those completely enchanting recordings that is perfect in every way, that encompasses the things that make an album a lifelong pleasure. First off, remember that this is folk music. It's not acid-folk, it's not Comus, and it doesn't rock. Yes it has some progressive elements but do not expect something like Harmonium because this is much closer to folk than to prog. If you accept that and like folk music you are in for a treat. Pererin (meaning "pilgrim") in this set of traditional music attempts to preserve the Welsh roots and culture while offering some delicate modern touches of electric guitar/folk rock and progressive arrangements. The vocals and instrumental work are simply superb and this first album features the pristine angelic vocals of Nest Llywelyn, who I really missed on the other Pererin recordings. Each track is augmented flawlessly with acoustic and electric guitars, occasional drums and bass, flawless harmonies, keys, flute, and mandolin. The electric lead guitar is very sensitive and atmospheric. The songwriting is also out of this world literally with these melodies that are instantly emotionally moving and perfectly crafted. I was in love with this music on the first play. I also admire their intention of preserving the past in a world where increasingly distinct cultures, language, and the "old ways" are in danger of disappearing into time. That's really what is important about this recording, the fact that you have in your hand something authentic to another time and place, a document as much about preservation as art. From the Welsh vocals to the traditional arrangements, from the perfectly telling cover art to the obvious care of the musicians, "Haul ar yr Eira" is a treasure.

It may sound corny to say this, but this album like few others gives me a deep sense of spiritual peace. It is literally healing to a worried mind or a wounded soul. I would suggest sampling the Pererin catalog sooner than later if interested, as these titles will at some point be very challenging to find, if not already the case. Purely magic, wholesome, fulfilling, and culturally historic.

Just about everyone who’s ever written a review of this album has given it the highest rating possible for whatever site or magazine they were writing for at the time. I’ve held off putting together my own review for quite a while simply because I didn’t want to be the lone wet blanket with a dissenting opinion. But everything turned out for the best because in that time I’ve come to appreciate this record in a way that I didn’t expect to after the first several times I played it.

Part of the reason is that I’ve spent an awful lot of time over the past year or so really concentrating on progressive folk music in my listening habits, at times almost exclusively it seems. And of the couple hundred albums, singles, samples and demos it has been my pleasure to enjoy in that time, this one ranks among the finest. Not that one’s opinion of an album or a band ought to necessarily be based on comparisons to others, but in the case of this album many of the things that have endeared other bands to me are also present here.

One band that immediately comes to mind when listening to this album is the loosely-coupled Irish collective known as Loudest Whisper. Not that the two bands sound much alike, although I suppose they do a bit. But more importantly, both bands have a knack for taking traditional arrangements and instrumentation and using them to craft beautiful songs that are very relevant in today’s progressive folk environment. The Swedish group Kebnekaise shows some of these same qualities.

Another positive trait is the band’s insistence on singing in their native Welsh tongue. Normally it puts me off a bit when bands sing in their native language, not because I’m xenophobic or anything, but because I’m one of those sort of fans who is as interested in the lyrics as in the music (if not more so). But on this album that isn’t a problem, mostly because the traditional folk themes are fairly obvious even if the subtle nuances of the individual tales is lost on me.

One more thing to point out – the band uses congas, bongos and a Celtic bodhrán for percussion instead of more sterile snare drums or (*egad*) digital drums. That would be unforgivable on an album like this anyway, and the hand drums supplement the earthy and intimate feel of the music in a way that really enhances the experience of listening to it.

And back to the vocals; Nest Llwelyn has an angelic voice that was simply made for folk music, no doubt about it. Her high-pitched lilting on tracks like “Gloyn Byw”, “Can Y Melinydd” and “Titrwm Tetrwm” give these songs a range that lifts them above the ranks of simply good to heights of excellence. This woman has a voice that should be used on as many folk-leaning albums as possible, and it’s a shame she doesn’t appear on more of them. Charli Goodall has a decent folk voice as well, not much on range but a timbre that is comfortable and well-suited to this style of music. Latino folk music fans will recognize the same easy gait to his singing as is heard in so many stellar Hispanic folk bands like Los Jaivas, Congreso, Contraluz and the Uruguayan singer Armando Tirelli.

The band doesn’t play it straight folk completely though. There are spots of mellotron and even electric guitar on tracks like “Can y Melinydd” and “Pan Ddaw Y Brenin Yn Ol”, and they show an ability to shift seamlessly from languid acoustic folk to an upbeat electric tempo on tracks like “Haul Ar Yr Eira”. On the other hand acoustic instrumentals like “Hiraeth Y Mor” are every bit as endearing as the other stuff. It’s all good.

There isn’t a bad song here, and pretty much all of them are uniformly beautiful and very easy on the ears. This is the kind of stuff many progressive folk fans seek out tirelessly, and unfortunately find far too infrequently. I’m glad I waited such a long time to write out my thoughts on this album; otherwise I’m afraid it would not have been given its due. It’s not often I plant the full five stars on an album these days, an unfortunate byproduct of having listened to too much music and perhaps becoming a bit jaded in the process. But this one deserves that mark, and I’m honored to be able to give it. Very highly recommended to all progressive folk fans and lots of other people too. This one is worth seeking out to add to your collection.

peace

This Welsh group crawled out of the woodwork when the public least expected it, especially in an unfriendly era for folk rock, the late 70's and early 80's. It's always a bit unclear whether the group was a quartet or including the female voice, a different one on the two releases (out of three historic and a fourth posthumous) that I've heard, given that the recent Cd reissues are entirely in Welsh/Gaelic as were the vinyls back then. Around that closing of 70's era, few places still specialized in local progressive folk, usually backed by a strong independence movement (The Basque, the Quebecois and the Welsh were three case). Backed by an evocative historical artwork and another western coastal picture, Haul Au Yr Eira is probably one of those rare lost gem that

Opening on the guitar arpeggios of the title track, the song takes its time to develop, between tempestuous passages and more medieval moments (flutes, harp, and finishes by a short verse. The following tracks picks up almost where its predecessor had left it, coming close to a cross of Pentangle meeting Genesis, or an early Renaissance. Can Y Mellinyd is again in the Pentangle, but veering Malicorne or Ougenweide, this time, even if a nice Hackett-ian guitar solo and so on for the next tracks. Only the short ninth instrumental track Hiraerth Y Mor differs a bit from the straight 3 to 4 minutes songs (including two traditional songs, superbly arranged by the group), but it leads to a fabulous closing track Pan Ddaw.

Whether or not the Face The Dawn label is legit is rather doubtful, especially when hearing hand-made volume correction in the third or fourth track that are too important to be normal, so most likely it's a boot, but when only that is around... One of those real unearthed gems, along with its younger sister Teithan, the first two Pererin albums are must-haves for prog folk fans.

Formed out of the ashes of the 70's folk/rock group ''Bran'',PERERIN stumped progressive rock with their unique blend of progressive rock with traditional folk.By the start of the 80's the Wales-based folk-oriented band moved a step further,adding evident progressive elements to their music as shown through their release ''Haul ar yr eira''.

Entirely sung in the Welsh dialect,the album offers the listener some of the very best psych/folk music around,surrounded by beautiful mellotrons,a tight rhythm section and electric guitars.However (and this heads to die-hard rockers),do not expect some heavy musicianship in the vein of ''Jethro Tull'' or something.The main thing here are the splendid acoustic guitars,the superb flute passages and the use of bongos,congas or mandolin to create this ethereal,unique and dreamy atmosphere.But this whole package is surrounded and doubled by extensive yet careful use of mellotron, melodic HACKETT-ish guitar parts and distinctive bass work,when needed.Vocals are split between male and female with strong harmonies and celestial choir-like arrangements,which make the color of this listening even more dreamy and folkish.Anyone who's after some ethereal rock music with folk elements can consider this album as a masterpiece!For everyone else...just give PERERIN a try,you won't regret it...A fair 4 stars rating by my side.

First of all thankyou Finnforest for the recommendation. I'll be the first to admit that Prog-Folk is my least favourite genre by a wide margin. I've spent more time with this than I usually would because I felt with all the high praise it gets it's the least I could do. So after 2 more spins this morning i've decided it's time to review it. I must admit this album is so well played and arranged, and with those Welsh vocals it brings a unique flavour. I did think of POPOL VUH a couple of times but really this band has a sound of their own.

"Haul Ar Yr Eira" the title track opens with harp before acoustic guitar and flute comes in. It kicks in with piano and drums before settling again as themes are repeated. Vocals 3 minutes in to the end. "Titrwm Tetrwm" opens with acoustic guitar and flute before male vocals join in. Female harmonies too. Good song. "Dechrau Y Gan" is my favourite. I really like the sound of the electric guitar here. Some organ too as light drums, vocals and flute help out. "Can Y Melinydd" is led by vocals and strummed guitar. Lots of flute later.

"Ni Welaf Yr Haf" features acoustic guitar, female vocals and flute. Sounds like mandolin a minute in as male vocals help out. "Royal Charter" is led by acoustic guitar, flute and male vocals. Guitar after 2 1/2 minutes as it picks up. "Gloyn Byw" features drums, strummed guitar, dual vocals and flute. "Llongau Caernarfon" is another good one with more of the same. "Hiraeth Y Mor" is a short acoustic instrumental. "Pan Ddaw Y Brenin Yn Ol" has some keyboards early and I like the electric guitar after 2 1/2 minutes. Nice. Nature sounds end it.

A good album but the best was yet to come.

Except for the last song, the music on this album is not very proggy. The Welsh tongue is interesting, the troubadour-like instrument choice enchanting, but it is the voice, that amazing voice of Nest Llwelyn that keeps me pushing repeat on the likes of "Titwrm Tietwrm" (9/10) and "Gloyn Byw" (8/10), and, to a lesser extent, "Royal Charter" (7/10)--though giving her the lead vocal, as on "Ni Welaf Yr Haf" (7/10) did not please as much as when she's the accompanist. And "Pan Ddaw Y Brenin Yn Ol" (10/10) the album's afore-mentioned finale, is IMHO a little prog masterpiece.

I like the flange effect on the strummed 12-string during the powerful centre of "Dechrau Y Gan" (7/10).

I love the electric guitar solo with pipes and channel-bouncing synth during the middle and end instrumental sections of "Can Y Melinydd" (7/10).

By the time "Royal Charter" rolls around I'm kind of getting tired of the style and format (just as I get tired of The Decemberists after a few songs). (Though I really like the Mike Oldfield-like electric guitar solo in Royal Charter.)

"Gloyn Byw" has a kind of Pink Floyd "Wish You Were Here" feel to it with Nest's awesome b-vox and plenty of Mike Oldfield electric guitar.

"Liongau Caernarfon" (8/10) has a very strong Moody Blues feel to it. Upbeat with a great acoustic-electric mix.

"Hiraeth Y Mor" (8/10) is a beautiful little Alan Stivell-like Celtic steel-stringed harp piece.

"Pan Ddaw Y Brenin Yn Ol" (10/10) is my favorite song overall for its 12-string acoustic guitar, whimsical piano, beautiful flute melodies and breathier vocal harmonies--as well as for the proggy synth and electric guitar and bombastic rhythm section in the second half of the song. Definitely the proggiest of all songs on the album.

Though this is a collection good music and fine performances, it is nothing extraordinary and, therefore, I cannot find myself awarding it anything more than three stars. Prog Folk lovers, however, will undoubtedly love this one.

2015 update: Over time and many more listens I have come to appreciate the Welch Folk traditions trying to be advanced here. I have gotten used to the recording, language and instrumental work to the point that I spin this album fairly often. I've decided that this warrants a promotion to the four star echelon.