PROG FOLK

Mostly Autumn represents my favorite type of folk: Their music is rather European in its folksy style, so their music contains all sorts of violins, bagpipes, flutes, and ethereal keys. On top of that, Olivia can sing like an angel, so that helps their case even more. I do prefer her vocals over that of Bryan Josh, the male vocalist. He has an interesting, breathy voice that I like, but I don't think 90% of singers out there could hold a candle to Olivia.

All of that being said, this album in particular is sweeping, climactic, soothing, and wispy all at the same time. The soaring symphonics always goad me into the music, while the Colin Masson-ish guitar work feeds my nostalgia. I especially liked the title track, "Tennyson Mansion", and "Top of the World". It seems that Mostly Autumn wears their poetic influences on their sleeves, but I can't help but wonder if The Carpenters were an influence here as well. Something I can't put my finger on tells me that. Either way, this is a great album that really lives up to its title, and it also rather handily earns 4 stars.

That is not to say that it is an acoustic album throughout and that the flute is always at the forefront as there are times when the electric guitar needs to take control. Overall an interesting album and while not as powerful as Mindflowers is still a fun album to listen to. www.perifericrecords.com

Originally appeared in Feedback #72, Feb 03

Originally appeared in Feedback #69, Aug 02

Good dose of Rock, Folk and Space. This fantastic album has four pillars, which are the songs that masterfully unifies the three styles.

1) The Dark before the Dawn, deploying energy adjusted and flute super phrasing in the chorus.

2) The Last Bright Light, with its tense calm broken in the chorus, and well made drastic turns.

3) Helms Deep, a Celtic air captivating and formidable role of the flute on an acoustic, without neglecting the facet rocker in for good measure. Which Wood? is another piece folk friendly and excellently executed to be accelerating towards the end, in the style of Mike Oldfield and naturally leads to the last track.

4) Mother Nature, the best song in the discography of the group, in my humble opinion. Emotional and powerful. With an amazing floydian end.

Furthermore, Shrinking Violet and Hollow are mostly folk ballads preppy, brilliantly sung by Heather, with lofty guitar solos Josh.

Not enough to be an essential work, but it is worth bearing in mind and recommend regularly. Between 4 and 4,5.

Though it may be known better for its metal exports, Scandinavia has been a fertile ground for progressive rock. As the rest of the progressive world began to slumber with the onset of the '90s, the Nordic countries began to enjoy a golden age of progressive rock. Nowadays, Sweden's Anglagard and Anekdoten, Finland's Höyry-Kone and Norway's Wobbler and White Willow have each produced albums that might beckon the 'classic' label. With this in mind, it was little surprise to hear such vibrant progressive rock in the form of Tusmørke last year and their debut, "Underjordisk Tusmørke". Though the album's vintage sound could have otherwise blended with a hundred other like-sounding acts, Tusmørke injected the tried-and-true 'classic prog' formula with a dark atmosphere and penchant for the macabre more often heard on horror film soundtracks. It was this fusion of the fresh and familiar that left such an impression on me. Less than a year since the day I first laid ears on their debut, the band have summoned new material, this time in the form of a two-track 'maxi single'. "Der Internasionale Bronsealderen" represents a healthy advance deeper into the realms of the otherworldly and occult, but this bite-sized chunk of Tusmørke's music lacks the sense of completion that would have recreated the wonder of their debut.

Upon first hearing Tusmørke's debut, I remember interpreting their sound as a surreal take on the Jethro Tull school of progressive folk rock. Vintage hard rock timbres are mixed into a witch's cauldron with swirling flutes and psychedelic arrangements. Though not novel ingredients to the progressive rock stew by any stretch of the imagination, I have heard few contemporary bands that manage to make the classic style sound work so well in their favour. Not only were the compositions on "Underjordisk Tusmørke" excellently written, but the band's execution and performance standard spared no expense. The production enjoyed a rich, organic quality to it, and all of the instruments sounded as if Tusmørke had travelled back in time to rescue them from the classic era. Possibly above anything else however, it was Tusmørke's somewhat creepy and surreal atmosphere that really sold me into their sound. It's that atmosphere that "Der Internasionale Bronsealderen" capitalizes on. Described as a tribute to the Bronze Age, Tusmørke have shifted their focus from alchemy and psychedelic storytelling to the occult reverence of Egyptian deities and mythological tropes. Though their Nordic folk rock palette remains the same, this teleportation to another place and time results in a more exotic atmosphere than on Tusmørke's first time around. "Kairo kicks off the EP with a thick Middle-Eastern atmosphere, casually mixed into the European timbres. Dark and foreboding, "Kairo" takes Tusmørke ever closer to recreating the atmosphere of an ancient pagan ritual through prog rock. "En Verden Av I Gaar" represents a lighter, more traditional side of Tusmørke's music, a dainty piece that spares no opportunity to throw in an extra dose of flute or mellotron. Though "Kairo"s fairly unsettling atmosphere may turn off some listeners, "En Verden Av I Gaar" should make for a more enticing and accessible experience.

Above all else, Tusmørke once again succeed on a performance level. It's by now rather cliché (not to mention something of a mixed compliment) to say that a piece of contemporary music truly sounds like it could have been from another period, but it's definitely the case here. Everything down to the rich production gives the impression of 'vintage'. Though Tusmørke would have undoubtedly given a greater impression with a stronger sense of innovation, there's rarely the feeling on "Der Internasionale Bronsealderen" that the band is being too derivative with it. It's most certainly a tribute to the past (in more ways than one), but Tusmørke enjoy a sense of present-day relevance in making this style more music more darkly atmospheric and severe. Tusmørke managed to achieve all of this and more with the debut, however.

"Der Internasionale Bronsealderen" maintains a sturdy par with "Underjordisk Tusmørke" in every way except one. While the composition benefit from Tusmørke's excellent, nostalgic arrangements and musicianship, the songwriting lacks the urgency of the debut. In spite of (or perhaps as a result of) the two tracks' ten minute length, I do not get the impression that either composition expresses anything of a truly grand nature. As bright and intelligent as the arrangements are, the melodies are rarely memorable, and the song structures seem to be nearly-rhapsodic, never reaching that 'full circle' satisfaction that most longer pieces require to succeed. "Kairo evokes a convincing atmosphere and feeling of dread, but "En Verden Av I Gaar" leaves a surprisingly weak impression on me. Considering the excellent musicianship and impressive dedication to a specific style, Tusmørke don't impress me as much here as they did with the debut. Thought "Der Internasionale Bronsealderen" could make for something of a disappointment depending on a listener's preconceived notions, their unique charm and impressive musical chops have me feeling very optimistic for this band's future.

For me this is the perfect prog folk record. Kebnekaise(which also is Sweden's highest mountain) combines old folk songs with psychedelic rock and more experimental rock. This full record is amazing. It starts with "Rättvikarnas gånglåt"(The Marching Tune of the People of Rättvik) which is a joyfull folk tune which is sung by singer/songwriter Turid Lundqvist(a front woman of 70s progg). Thereafter comes "Horgalåten"(The Hårga Song) with a psychedelic cautious introduction to explode in a fast folk song with great playing of Kenny Håkansson. This is one of Kebnekajse's most popular tunes and they still use to play it on tour. I heard it last autumn, they are still the same guys and play it wonderfully. Next song "Skänklåt från Rättvik"(Gift song from Rättvik) is even more cautious in the introduction. They are improvising in the beginning in a very psychedelic way and then it totally changes unto a wonderful traditional folk song with great guitars. This is really folk prog heaven, in my opinion much better than Jethro Tull. The B-side has two fantastic tracks. First comes "Barkbrödslåten" (The Bark bread song) which was a progg hit in the 70s. The guitars are very sharpe and powerful, of course a real very old folk song. Finally we have "Comanche Spring" which is the only tune here that is not a traditional folk song. It is long and episodic, starts slow with bass line and explodes with powerful guitars in an exuberant wild melody with interesting tendencies. Sometimes the sound is very experimental here and in my opinion this track is the disc's best.

I would absolutely say this is an essential record, and one of the best in the prog folk genre. Highly recommended!

I found that the only time that the language was a problem was during the narration, as during the songs themselves the pure clear vocals of Fanni Völgessy Szomor become another instrument. Musically they have much in common with Eighties Yes, and the result is an album that any prog lover could well enjoy.

First appeared in Feedback #63, July 01

The music may have a folky poppy feel, but then turn into Gregorian chant. It is not rock music, but is still music from the soul, that can lift the spirit. It is not an album that I will be returning to a great deal but there are going to be times when this will be just the perfect thing to play on a warm Summer's evening. Sixteen musicians combined to make this CD, and they work together extremely well.

Originally appeared in Feedback #63, July 01

Other than a few interspersed spoken segments, this album does not express any traits dispensed with in subsequent releases. The classical guitar of Riccard Prencipe, the violin of Alfredo Notarloberti, and the cadre of self possessed female vocalists collaborate in a vaguely familiar yet singular Celtic inflected Mediterranean folk rock which passes for both modern and ancient. A subtle sense of foreboding is also imparted, and relatively few pop oriented inflections are extant at this time.

As in most of the catalog, the listener is drawn in immediately with "Intro (Captatio Benevolentiae)", a brief spoke portion rapidly supplanted with a blistering violin solo backed by chasmic percussion. The first part of "My Promise" maintains that energy with wordless vocal chants while the second is perhaps a more typically sweet violin and guitar oriented tune. "Eventi" is the only track sung by male lead, and is one of my favourites with its multitracked half spoken vocals, which bust out later a la FRANCO BATTIATIO. "Waves" features English vocals both sung and spoken and also varies the tempos as consistent throughout the disk. "Ascesi" and "Fantasia Sui Tasti Bianchi" offer welcome variety, the former with its use of clarinet and the latter as largely a solo piano piece by Francesco Villani, and a consummate one at that. "Orme" is notable for sounding like CLANNAD and ARES, but is more effective than either because it represents a facet rather than an an immutable identity. "Dentro's" operatic vocals would be adapted on "Cuma" on the subsequent offering, but they are no less effective here.

The last 3 tracks suffer somewhat from a sense of spent energy, and the 10+ minute length of the closer is misleading as it includes several moments of apparent silence followed by a reprise of "orme". Still, if "Volonta D'Arte" was a mature sophomore effort, "Respiri" demonstrates that Mr Prencipe was more than ready to go solo by 2005 and represents a deep first breath from CORDE OBLIQUE.