For all those that felt let down by Wobbler, try this album, its brilliant. Amazingly, despite the release date not being until October 11th, it dropped through my door today and even better, its one of the first 25 so its personally signed to me by Jacob and Lars, brilliant! I'll post my review here as well as it gives all my initial thoughts.
Authors Note: I'm writing this review after only 2 listens and so should be considered an "initial
impression" and will be updated sometime in the future, if I remember, once its settled in more.
For those of you that frequent the forums here, you may remember a thread about bands that "Can do
no Wrong" and for me only one name came to mind, White Willow. Then, a couple of months ago when
Jacob Holm-Lupo announced the forthcoming release of this album, Terminal Twilight, he also posted a
10 minute Youtube sample which got me very excited and also prompted me to re-visit the bands
discography and refresh my mind on just how good they are. What I'm trying to get at here is that a
new White Willow album comes with very high expectations on my part, to the point that they are one
of only two bands that I place such heavy demands on the quality of the music they release. So I'm
part elated and part relieved to say that White Willow have very much matched those expectations.
Anyone familiar with White Willow will know that each of their previous five albums is unique in its
sound, but they each shared in a common atmosphere, that of dark melancholia but with absolute
beauty, and that has held true on Terminal Twilight as well. In terms of its overall sound its
probably best described as a loose blend of Sacrament and Storm Season in that it has the classic
70's symphonic sound of the former but can be very heavy like the latter. That heaviness, though,
should not be confused with Metal under any circumstance. Storm Season may have been characterised
by heavy guitar riffs but Terminal Twilight creates its heaviness through a blend of Lars Fredrick
Frĝislie's expansive keyboard sounds, Jacob Holm-Lupo's guitars and Ellen Andrea Wang's growling
5-string bass. Its a massive wall of sound with a great deal of depth and detail used to stunning
effect, particularly on the dark opening track, Hawks Circle the Mountain.
And that leads me on to a great point in this albums favour, its use of dynamic range. Holm-Lupo and
Frĝislie have clearly spent a lot of time and effort on the production here so that you get caught
up in the close, intimate feeling, quiet sections before being blown away by the full band as they
storm in through the speakers. Yet it all feels so natural, the quiet sections are never too quiet
and the loud parts are never too loud, striking a comfortable balance whilst still having a clearly
determined difference in volume level. And that spreads over into all aspects of the albums
production, all instruments are clearly audible and only the keyboards seem to dominate the mix, but
then this is definitely a more keyboard oriented album than the last couple of White Willow albums
have been.
Now, I doubt I'm the only one to have noticed but much of the modern Symphonic Prog produced seems
to be very much "retro prog" in that it clearly harks back to the classics of the 70's without
changing things too much, and that's not always a bad thing as Swedish legends Anglagard have proved
(and who's drummer, Mattias Olsson, offers a superb turn on percussion here) as have sister band
Wobbler (for me most notably on the medieval tinged Afterglow), but there's definitely too many
soundalikes out there. Thankfully, White Willow have never been one of those, from their heavily
folk influenced early albums to the Neo Prog of Signal to Noise that have always had an identity all
their own, displaying their influences without getting trapped by them. On top of that they've been
changing their sound constantly, and they've changed it again for Terminal Twilight. Ironically,
this album is the one, of their six, that is most likely to be considered a throw-back to the 70's,
largely from the way that the sound is dominated by Frĝislies unashamed armada of vintage keyboards
and the way that the guitars only really come to the fore for solos and acoustic passages in a
manner reminiscent of many classic prog bands. It has to be said, though, that there is no mistaking
Frĝislies playing on this album. The style of play and sound use that he has developed, and almost
exclusively uses in White Willow (and to a lesser extent in his Black Metal band In Lingua Mortua
whilst almost never in Wobbler), is unique to him and he displays this talent excellently.
Of the songs themselves, its easiest to consider them as the longs and the shorts. Of the long
tracks, the opener Hawks Circle the Mountain is by far the darkest track on the album, whilst the
main epic, Searise, is one of the most menacing tracks the band has ever produced, helped along by a
vocal melody very similar to that of Sally Left from Storm Season. The other three cover much more
varied territory emphasising the beauty of White Willows music at least as much as the rock side of
things and their ability to weave compositions of many twists and turns. The shorter tracks consist
of a slow, atmospheric closer A Rumour of Twilight, reminiscent of Signal to Noises closer Ararat,
and another slow building atmospheric song Kansas Regrets, which features the vocal talents of
No-Mans Tim Bowness. The other short track, Snowswept, is probably best described as a love song and
has a more commercial bent to it than the rest of the album. Holm-Lupo has tried this before on
previous albums with only limited success (Joyride is definitely my least favourite White Willow
track) but this time the track works really well with strong melodies and good development and most
importantly, completely fits in with the feel of the album.
One constant of White Willow that I didn't mention previously is that there has been a revolving
door policy for just about every instrument in the band. This time round we see the return of two
former band members, most notably vocalist Sylvia Skjellestad (nee Erichsen). Her vocal delivery is
as strong here as it was last time out on Storm Season and will no doubt please many of the bands
long time fans. As previously mentioned, Anglagards Mattias Olson has returned to the band for the
first time since 98's Ex Tenebris and performs some brilliant work on the kit, expertly holding the
rhythm section whilst supplying some excellent fills. The only all new member to join is bassist
Ellen Andrea Wang of little known Norwegian band SynKoke, replacing Martha Berger Walthinsen. She
fills the shoes left behind expertly, offering powerful and creative bass lines that work well with
Frĝislies keyboards and Olssons drums.
Hawks Circle the Mountain, Floor 67 and Searise will undoubtedly stay with me for a long time whilst
instrumental Natasha of the Burning Woods and Red Leaves will grip my attention every time I hear
them. Its safe to say that there are no bad songs on this album and there are several extremely good
ones, but if I have one complaint its the track list. I cant help feel that A Rumour of Twilight
would have served better as a lead in to main epic Searise, which in itself would have been a
brilliant closer, in the same way that the atmospheric A Strange Procession.... leads in to the epic
? A Dance of Shadows on the Ex Tenebris album. I should also note that, while I enjoy the vocals of
Sylvia Skjellestad, I miss the vocals of Signal to Noises lead vocalist Trude Eidtang. Though its
the only album she appears on she stands out as one of the best female singers in prog with her
assertive and emotional delivery. Maybe we can get two lead singers on future albums.....
2011 has been a year of consistently strong releases so far but White Willows Terminal Twilight
jumps straight to the head of the class, joining Fen's Epoch and UnExpects Fables of the Sleepless
Empire as the stand out albums of the year, overshadowing more well known acts like Dream Theater,
King Crimson ProjeKcts, Yes and even alter egos Wobbler. Anyone that wants to hear powerful and
unique Symphonic Prog that doesn't automatically sound like any one of the 70's greats should give
this a very close look, and the same goes for those that likes their music melancholic and dark, but
with a touch of beauty to it.