Jacquelyn White

The Snake

admin — Tue, 08 Dec 2009 01:03:00 +0000

Access to a wide variety of musicians and bands has recently become widespread with the proliferation of the Internet. Though this gives inquisitive music lovers vast seas of artists to explore, this also presents the predicament of originality. Like any other art, only so many ideas can be looked at from so many points of view before they begin to blend together. It is difficult to find a sound that is original and surprising without being on the fringes of what is acceptable as music. However, Wildbirds and Peacedrums deliver just that—a unique listening experience while retaining an essential rhythm and harmony.

Putting Wildbirds & Peacedrums into a genre is almost impossible. Though many suggestions have been put on the table, ranging from psych folk to straightforward experimental, their music refuses to be placed in a box. Mariam Wallentin and Andreas Werliin, a husband and wife duo from Sweden, are the band’s only members. It is interesting that this band’s unique sound consists of mere drums and vocals, which Mariam considers her “instrument.”

The Snake is the band’s second album and it does not disappointment. The combination of Andreas’s spirited percussion with Mariam’s earthy vocals conjures an image of the mundane world, but colored with the most basic of emotions and instincts. There is something very primal about the music of Wildbirds & Peacedrums.

Mariam’s vocal work is very natural, to the point where sometimes she is simply making sounds rather than singing lyrics, much like a deeper toned Bjork. Andreas’s basic but somehow overwhelming drumming makes up for the lack of instruments accompanying his wife’s voice.

These two elements are best united in the track “There is No Light,” which is perhaps the best track on the entire album. Andreas’s drums are the only literal instrument used and the remainder is dominated by Mariam’s voice, which is almost guttural in nature. It is difficult to imagine such a thing to be pleasant but the pair does not only succeed. “There is No Light” evokes an overwhelming feeling of movement. It makes you want to dance, but more in a primitive jumping and undulating sense. This atmosphere is all created through smart drumming, primal voice, and raw lyrics about failure and triumph. In short, this is a very powerful track.

The album is perfectly structured for the attention span of an average listener. The first track is mysterious, haunting, and a hook in every sense of the word. There is a balance between shorter and lengthier songs. Every track on The Snake has its own individuality. The innovation that they use to give each track its own stand-alone sound with only two mediums of sound is interesting enough, without considering the quality of each track itself.

Almost every track on The Snake seems to overwhelm the listener with one emotion or another, conveyed more through rhythm and sound than through the lyrics themselves. It is definitely an album that can be listened to more than once without boredom entering the picture. Those who are new to Wildbirds & Peacedrums will receive an open armed welcome into this sweet, emotional, and, at its core, primordial world that The Snake creates.

Written by: Jacquelyn White, December 7th 2009

Prince of Truth

admin — Mon, 07 Dec 2009 01:04:00 +0000

Evangelista

Constellation

Considering Evangelista is side project of musician Carla Bozulich—a rather unstable project at that—it is hard to imagine that a work of quality would be produced by a band that seems to be a metaphorical revolving door. However, despite the constant entering and exiting of band members, Evangelista released the solid Prince of Truth.

This album is a living testament to Bozulich’s ongoing fascination with noise and its role in the creative realm, particularly in music. Each track seems to be more in the vein of a soundscape than of an actual song. They supplement the lyrics with the vivid images they bring to mind. There is no doubt that the sounds were placed very cleverly, as they always fit in well with the song itself. The myriad of instruments combined with various noises form a distinct impression for each individual track. Without a doubt, it’s the album’s instrumentals that really push the envelope and make this a distinct piece, for better or for worse.

Lyrically, Prince of Truth could not get any better. Every song is both music and poem. They are all emotions frozen in time, preserving the feeling in the song. As one listens from track to track, one is taken on an emotional rollercoaster that is no doubt a reflection of what Bolzulich was feeling when writing them. She covers a variety of topics, all discussing truth, and many of them touching on the hopelessness of life. It is in the haunting details, like the song that seems to be suggesting that cats bet on when their humans will die, that the point is driven home. With her cathartic and eloquently written lyrics, Bolzulich forces listeners to face ignored truths that permeate life, even going as far as questioning whether there is any truth at all.

Though there is arguably a commonality between tracks in their overarching theme of nihilism, overall they seem to be arranged a bit randomly. One goes from the intense, sound-heavy “The Slayer” to the mellow, shanty-esque “Captain’s Side”. Though all albums contain such a progression of feeling, there seems to be no progression at all, but rather a jarring arrangement of hot and cold, hot and cold. The album’s disjointed nature is its only major flaw. Prince of Truth is for any listener who can appreciate the complexities of life, human emotion, and sound-play.

Written by: Jacquelyn White, December 6th 2009

Renaissance: Song of Scheherazade Live

admin — Thu, 24 Sep 2009 23:57:00 +0000

By Renaissance

Cherry Red Films

Renaissance is a notable 1970s folk rock band that developed a large fan base by having symphonic rock instrumentals contrasted by haunting female vocals and whimsical, intelligent lyrics. Renaissance: Song of Scheherazade Live includes video from the band’s performances at Capital Theatre in 1976 and their 1979 performance at Convention Hall. A great fuss was made when Cherry Red announced their release of Renaissance's concert footage. Between 1976 and 1983, Renaissance was in its prime output stage, so fans were excited by the idea of getting to experience the band’s concert during this pivotal point of development. However, it seems all of the enthusiasm was for naught.

The quality of the DVD itself is questionable and has received a great deal of well deserved criticism for the poor quality of the video. Though black and white footage has the potential to be beautiful in its own way, we get grainy, smoky, and at times completely indiscernible images of the concerts. (The menu is hideous, and is, ironically enough, created from a screen capture of the contained footage.) The camerawork is monotonous and rather random at times. Many of the shots were terribly framed. Random microphones and the movements of another band member obstruct the view of Annie Haslam when she sings or speaks. The majority of the shots consist of a rather unusual close up of the talented female lead, where she spends the great deal of time with her eyes closed.

The condition of the audio on this DVD also suffers. Haslma’s beautiful voice is lost within the background crackling, microphone interference, and temperamental volume. Rather than complement her voice, the audio makes the accompanying instruments sound like a swathe of annoying background noise.

The performance itself is passable if you concentrate on the insider dialogue between Haslam, other band members, and the audience. This is something that is truly priceless from the stance of a Renaissance fan, something you could not obtain anywhere else. However, these snippets of conversation between musical numbers were about the only thing I found even remotely entertaining on this DVD.

Unfortunately, the poor quality interferes with the ability to truly enjoy the works of what is arguably one of the most influential folk rock bands of the twentieth century. Though there must be some sort of legitimate reason why the film could not be better restored, I think it is a disappointment to say the least.

All and all, Renaissance: Song of Scheherazade Live is worth the money if you are an avid collector of the band’s works. If not, I suggest you stay away.

Written by: Jacquelyn White, September 24th 2009