THE MORRIGAN

At the time of releasing 'Hidden Agenda', progressive Celt rockers The Morrigan had already been together for nearly twenty years. Returning again once every few years to come back with another album, The Morrigan have never been the most prolific bunch, but they have always released music that is gorged with charm. Although the musical strength has varied, there has been a steady increase in the band's strength as the years have gone by, and it culminates here with the group's fifth album; 'Hidden Agenda'. While keeping a similar formula in structure and style to previous works, The Morrigan has never before achieved such a level of strength at what they do, coupling powerful songwriting with good performance values and evident experience. The result is an album that finally aptly reflects the band's potential.

Since their inception, The Morrigan have made their mission to merge Celtic folk traditions with progressive rock; a lofty goal, to say the least. More often than not, this has led to their albums being a revolving door of Celtic jigs and typical prog rock moments; doing both rather well, but ultimately failing to merge the two in a successful marriage. 'Hidden Agenda' finally realizes this, as can be heard from the combination of shoegazey guitars, and traditional recorder playing. For an album that appears to be a large improvement over its predecessors however, not much has changed in the overall formula. 'Hidden Agenda' still begins with the necessary upbeat Celtic instrumental overture, then digresses into story-driven vocal tracks and rock-oriented renditions of traditional songs.

One place where 'Hidden Agenda' really makes its mark is during its highly successful mini-epic, 'A Night To Remember'. Based on the tragedy of the sinking Titantic, the nine minute piece details a chilling narrative of the boat's fatal voyage, as well as multiple perspectives. Musically as well, there is a much greater majesty to what The Morrigan do here; a larger scale sense of composition that makes 'A Night To Remember' feel like a genuine epic as opposed to an overstretched song. I have always found that The Morrigan's focus on telling stories with their music was always a strength, but it seems to have taken a backseat since the debut 'Spirit Of The Soup'. In any case, the band makes up for it here by creating a piece here that manages to capture the desparation of the story, but keeps things ironically upbeat and catchy.

Anyone who has heard the music of The Morrigan before will expect a great vocal presentation from the band, and here they shall receive. Cathy Alexander has a fantastic and distinctive style of singing that only adds to the Celtic flair of this band. It does feel as if 'Hidden Agenda' faces some of the same weaker aspects that have always plagued them, such as a few inconsistent tracks here and there that feel slightly too derivative of Celtic traditional music. Flaws aside however, there's no doubt in my mind that The Morrigan's most recent album is also their definitive work.

The fourth album by this UK progressive folk band, 'Masque' shows The Morrigan's style developing, if even only a bit. After a strong album with 'Wreckers', the band returns another few years later to give another solid album, this time pushing the traditional Celtic jigs they built the first three albums up upon, and diversifying their catalogue. There's no doubt that 'Masque' is the most progressive album The Morrigan had done up to this point, although not every change the band makes here is for the best.

Although changes have been made, the sound here is still explicitly Morrigan in nature. Still here are the pastoral acoustic guitar segments, soaring traditional vocals of vocalist Cathy Alexander, and the very Celtic vibe that really defines what the band's music is all about. At the sacrifice of the Celtic saturation, there are now greater roots in progressive rock, and even such disparate sounds as Gregorian chant singing and the more martial sounds of neofolk. All of this makes 'Masque' feel like The Morrigan's strongest work when compared the the three that had come earlier, but in terms of the enjoyment factor, it is on par with 'Wreckers'. Gone are much of the energetic recorder-driven jigs that were always very fun to listen to, and authentic feel of the folk elements. Instead, there's something here that hasn't quite been heard from the band before.

'Masque' opens up with its title track, which seems to bring the listener into a sort of prog rock feudal feast hall, with guitars and keyboards blazing with whistles sounding in between. While it may turn some off on first impression, there is also something of a religious vibe that the album gives. Be it through the Latin chants or traditional European spirituals The Morrigan puts to use here, there is a Christian based theme on the album, as first impressions go. However, it is put to a good use here; instead sounding as if it is meant to enhance the feudal sound of the album rather than convert anyone.

Easily the most rock-based Morrigan album I have thus listened to, not to mention the most musically complex and ambitious. While it doesn't have the sort of charm that 'Wreckers' did, it shows the band taking steps in the right direction.

Back with a third album after a six year wait from the second, progressive folk rockers The Morrigan are back with 'Wreckers', fueling their Celtic roots with the energy and complexity of prog. An album that feels like a step back towards the folky side than the rock they experimented with on 'Rides Out', this is the first time that The Morrigan have really left an impression on me. The band had been in intermittent activity for over a decade at this point, and the band experience is reflected here fully, although there is still the feeling that things could have been improved upon further.

As has been mentioned in another review, this feels more like the spiritual sequel to The Morrigan's debut 'Spirit Of The Soup', rather than the third album. While regressing back a step usually isn't a good sign for most bands, in this case it does really have a positive benefit. In 'Rides Out', I generally felt that the rock wasn't nearly powerful enough to warrant cutting out the Celtic beauty that defines their sound. Instead here, there is the energy that was lacking on the debut, but conveyed through the Celtic instrumentation of the recorder and a myriad of other folky instruments.

Although the Celtic melodies and parts are highly derivative of traditional songs, that is part of what makes 'Wreckers' an enjoyable experience. Seen her is the inately 'foward-thinking' sound of prog rock (as can be heard through the use of keyboards) and an ancient sound that still holds as much appeal today as it did back in feudal times. Leading this foray into the Celtic culture is vocalist Cathy Alexander, who has not changed up her act much since the debut, but remains a strong singer that really works for the sound of The Morrigan. Also here is 'Cold Blows The Wind', a new rendition of an older track they previously did, although it is a pleasure to hear this track redone in a more professional setting.

While the album may have the cohesion of 'Rides Out' an d the musical beauty of 'Spirit Of The Soup', it still feels as if something is missing from the album that keeps it from being truly remarkable. Perhaps it is the generally straightforward approach to the songwriting employed here, or the rather cheap sounding keyboard sounds, but these do not prevent 'Wreckers' from being an enjoyable musical experience through and through.

With the debut 'Spirit Of The Soup', British folk rock group The Morrigan proved that they were indeed full of potential, but still had a very scattered and somewhat aimless approach to what they did. As is expecting of all sophomores, The Morrigan has polished up their work somewhat. Instead of the haphazard collection of musical ideas presented in 'Spirit Of The Soup', The Morrigan's second record 'Rides Out' is more fucused, and allows the band to show themselves in a more professional light. Unfortunately, somewhere over the process of tightening up the reins, they have lost some of the magic that was so evident in parts of the debut.

The most evident change in the band's sound is the addition of many more rock influences than was ever heard on The Morrigan's first record. The Celtic folk here still runs strong and defines almost everything The Morrigan does, but it is now commonplace to hear the band play some riffs that wouldn't sound out of place on the typical rock album. The need for more energy in the music was always something I felt ground against the debut, but the heavier guitar riffs here often do not really feel as if they mesh too well with the beautiful Celtic instrumentation.

The showcase of many songs is the brilliant and appropriate voice of Cathy Alexander, but the instrumentation is often strong in parts. Bassist Cliff Eastabrook has some great parts in the Celtic reggae crossover 'Night Comes Closer'. Colin Masson's generally fantastic guitar skills are not represented here too well, but there is some beautiful acoustic guitar work that pops up every so often. While the album's sense of cohesion and energy have been both kicked up a notch, it does feel as if The Morrigan has lost something in the course of developing. There were a few brilliant tracks on 'Spirit' that make me wish the same sort of standout tracks were here as well. In part, it may be because The Morrigan does the mellow thing better than they do energetic rock, but the overall impression is that there is not quite as much of an improvement here as I may have wished. 'Rides Out' has still been quite a pleasant experience from these Celtic prog rockers, in any case.

The middle of the 1980s is certainly not a time all too many people remember as a great time for Celtic rock. While the airwaves were largely dominated by the darlings of the then- infantile MTV, UK progressive folk band The Morrigan began their musical journey in earnest. Originally coming to the music of this band through the more recent solo work of their guitarist Colin Masson, I was quite intrigued to listen to The Morrigan, and have started my journey with their 1985 debut, 'Spirit Of The Soup'. While the atmospheric Celtic vibe is here in gratuitous amounts, 'Spirit Of The Soup' does really give the impression of being the work of a band that is still trying to get their feet on the ground.

'Spirit' is comprised of a series of tracks which typically make use of Celtic instrumentation and lyrical storytelling, courtesy of the brilliantly fitting voice of Cathy Alexander. Each song is a mellow outing, driven by ambient keyboards, whistles and acoustic guitars. There is even a tinge of a new wave sound in some tracks, such as the opener 'Cold Haily Windy Night', which features a pumped bass line under waves of guitar flanger. Most of these tracks are quiet and ambient however, relying almost entirely on the voice of Alexander for melody and hooks. Unfortunately, while some of these songs do amount to some authentic Celtic beauty, very few of the tracks ever feel as if they're completed pieces, instead coming across more like musical ideas thrown into a mix and put on record.

While the tracks rarely feel like completed compositions, a few manage to get a very nice lyrical theme going on for them. 'Cold Blows The Wind' is one of my favourites from this album; an acoustic ballad telling the story of a lost love. Being of a Celtic origin myself, I am well-versed in this style of traditional songwriting, and The Morrigan gives an authentic feeling here. The album generally suffers from being too mellow and lacks the energy throughout that endears so many to the Celtic traditional music. A few pieces of music get the caffeine flowing, such as 'Dribbles Of Brandy'; a fast paced ditty led onward by the recorder.

I cannot say that The Morrigan has given the greatest impression with 'Spirit Of The Soup' due to its feeling of incompletion as an album, as well as its incredibly mellow approach. However, while the album may not necessarily be entirely enjoyable from start to finish, the album is a raw palette of some charming ideas. Fortunately, the band's style would go on to be developed greatly upon latter albums.

Christmas albums aren't usually something that sit well with prog fans. In most cases, such albums are re-makes of songs we've all heard more than enough times, the music lacks in experimentation, or the album is only created with an intent of making a few bucks off of some unwary fans. And if none of the former apply (which is seldom the truth), the religious message is bound to have bad connotations with a fair number of prog fans. A Midwinter Spell is one of the only Christmas releases where I can honestly say that none of the aforementioned scenarios apply. The music itself is highly-enjoyable symphonic progressive folk, the religious message shouldn't bother even the most militant atheist, and (most of all) it got me in the 'Christmas spirit'. I've had a great time listening to this EP from The Morrigan, and I have a feeling many progressive rock fans would say the same. I know that I'll definitely be pulling out A Midwinter Spell when next Christmas arrives.

The album opens up with the progressive 'Masque', characterized by an excellent instrumental opening and great vocal harmonies. 'Dever the Dancer' is a softer track with terrific climatic builds and stellar vocals from Cathy Alexander. The first two songs are, in my opinion, the best from the EP. 'Volta/Basse Danse/Volta' is a more folk-oriented piece, with obvious nods towards traditional Irish and Celtic folk songs. 'Good King Wenceslas' is ultimately the weakest track here, but it's far from the worst version I've heard of that song. The real worth of this EP lies in the first two tracks, which are filled with top-notch progressive rock music. As you should expect from the musicians involved, the musicianship is impressive throughout. I especially love the frequent vocal harmonies - they enhance the EP significantly. The production isn't bad at all, but it does seem a bit thin and low-budget. It's not a big complaint, though.

Conclusion:

A Midwinter Spell is a Christmas EP that virtually every progressive rock fan can listen to without shame, and for that alone, The Morrigan deserves praise. I'd recommend fans of beautiful and melodic prog rock/folk to check this out. As I write this, I've yet to hear a full-length album from The Morrigan, so I can't say if this measures up to their best efforts or not. I'll rate this enjoyable and highly recommendable EP with 3.5 stars. Prog rock fans who want something to play around the holidays should definitely give A Midwinter Spell a shot.

According to what I've read, this is the first The Morrigan release since 2002 when their latest studio album saw the light. Now in this 2010, they decided to release a four-track EP called "A Midwinter's Spell" in which we will find some Christmas related songs.

This band from the UK have composed great prog folk music, and here we will find that folkish tendencies. It is important to mention that three out of the four tracks were taken from previous works, while the other one is an unreleased version of "Good King Wenceslas", a traditional Christmas carol.

If you want to spend twenty minutes of good winter music, then you are in the right channel, sit comfortable and enjoy this record. The first track is "Masque", taken from the album with the same name. This is an extraordinary composition with an excellent guitar work that in moments remind me of Mike Oldfield. After three minutes the song makes a short stop and vocals appear in a joyful mood.

Next track is "Dever the Dancer", a song that starts slow with some keyboard effects and a delicate female voice. Little by little the music gradually progresses and it becomes more intense, but at the same time you still hear to those beauty sounds made by flute and keyboards, creating a fairytale mood.

"Volta/Basse Dance/Volta" is a beautiful folk composition in which we can appreciate the charm of the wind instruments accompanied by percussion. Anyway, two minutes later electric guitar appears and with it, the mood changes a little bit, becoming darker; however, it later returns to the same joy and beauty it had.

And the last track is "Good King Wenceslas", if you are already familiar with it, then you know what is it about, the difference is that here you will listen to a The Morrigan version, which is actually good.

This is a nice Christmas EP, if you like this season's mood then you will easily enjoy it, if not, then stay away from this. My final grade will be three stars, because I like the music, however, I would not recommend this as a starting point for people unfamiliar with the band, better get a full-length album.

Enjoy it!

A Christmas EP you can listen to without hiding behind the sofa. An EP you can play to your friends without disgracing yourself and your family (in ten generations).

The Morrigan is one of the better new folk rock bands in the UK. Their sound is pretty much celtic folk music based with excellent flutes, ethereal female vocals by Cathy Alexander, some keyboards and a general warm acoustic sound. The songs here is some suitable older The Morrigan songs which is not traditional seasonal Christmas songs. That gives this EP a lot longer life than the Christmas period. But there is no denying that this EP has an winter warmer feeling with a festive spirit.

The quality of the songs are good throughout. The band sounds great, the vocals are excellent and the flute is really making this a worthwhile experience. There is not paint stripping great songs on this EP though. It is what it is; a festive cheer and party topper. Buy it safely without wearing a ski mask.

3 stars

I am usually severely allergic to Christmas music of all sorts and I have always been a bit embarrassed to admit that some of my favourite bands and artists actually have made Christmas songs and albums (Queen and Jethro Tull are but two examples). Thankfully, the present EP release from The Morrigan is not Christmas music in the traditional sense. We have here four tracks, three of which have been featured already on the band's regular studio albums. The first two tracks are taken from Masque, originally released in 1998, and the third from 2002's Hidden Agenda. I have never thought of these tunes as being Christmas songs, and they were probably never explicitly intended to be so, but they do indeed have a certain wintery feeling (at least when heard in this new context). The fourth track is a previously unreleased version of the traditional Christmas carol Good King Wenceslas and is thus the most "Christmassy" of the four tracks. It is a very nice electrified Folk song in typical Morrigan Folk Rock style.

A Midwinter Spell is the first official release from The Morrigan since 2002 (and their first EP since 1993). It is very nice to have a sign of life from the band. As a "teaser" this EP fills its function quite well as all four tracks are very good and worth having, but for anyone who already has the Masque and Hidden Agenda albums, this EP offers very little new. And for those who don't have those full length albums, I would strongly recommend starting with them rather than with this EP. The Morrigan is a very good and underrated band and their original studio albums are indeed recommended for all with an interest in progressive Folk Rock. This EP, on the other hand, despite generally excellent contents, is not really necessary unless you are a fan or collector (or if you want to give the band your financial support).

Even though they were formed in 1984, The Morrigan had only released two full length studio albums by the time of the release of this four track EP in 1993. After this it would be another three years before their next release. Maybe they wanted to release this EP to give some sign of life during the long period of silence between 1990's The Morrigan Rides Out and 1996's Wreckers?

War In Paradise consists of three studio tracks and one live recording. The first two tracks were both written by bass player Cliff Eastabrook who also takes lead vocals on the EP's title track. These songs are rather straightforward affairs and the progressive aspects of the band's sound have been relegated to the backseat here. In that way, the material here is something of a "regression" to their simpler, early sound after the more progressive Rides Out. The opener Throwing It All Away sounds like one of Steeleye Span's 80's attempts to Rock out and the highly "funky" War In Paradise is actually even a bit annoying with its rap-like vocals. It is first with The Miner's Song that The Morrigan delivers a song in the style and quality that they have shown on their studio albums, this one would have fitted very well on Wreckers. The live recording is of Fingal's Cave/Spirit Of The Soup the latter of which was the title track from the band's 1985 debut album. In contrast to the original version, this version features drums.

Overall I get the feeling that these songs are leftovers, and with the exception of The Miner's Song and the live recording, these songs are not up to the quality of the band's full length albums. This EP can only be recommended to fans and collectors.