This was one of those albums that I really wanted to hear as soon as I read about it, even if I had a good idea what it was going to sound like. When you combine the talents of Caroline Jago of Sol Invictus along with Ann-Mari Thim of Arcana it’s really a no brainer that this is going to be an enchanting listen and one that is ethereal and mysterious too. This is musically of an acoustic nature and utilises other instruments such as violin and harp courtesy of Núria Luis and Frédérique Henrottin. One also should mention percussionist Lesley Malone of this all female ensemble as her parts are impossible to ignore and the driving force of the music in many of the compositions, which are all loosely based on the Pagan canon.
Tracks are all entitled by just a single word, giving further clues into the themes behind the music. The first of these ‘Valensanimi’ unfolds around calming symphonic airs and Ann-Mari’s beguiling vocals. It becomes more strident and is built up with a slow militaristic drum beat, strings flow through with sprite like intention and you are taken off on a neo-folk etched journey and quickly immersed in its folds. As the lyrics state this takes you “from the darkest cavern into the brightest glade” and it is incredibly natural sounding. ‘Aiode’ sees the drumming taking on a more martial mindset, slowly but heftily battering out its call. It’s almost as though the vocals are utilised as the main instrument, going over the top of everything else and really focusing your attention on them with a magickal spellbinding entrancement.
As a whole this is music you can lose yourself in forgetting the outside world, or you can equally find yourself dreamily floating off on it. It is a really interesting pairing of like minded artists whose main projects speak for themselves and having realised that I have not caught up with Arcana since excellent 2004 album ‘Le Serpent Rouge,’ this has definitely filled a void. There are 13 tracks here unfolding over 45 minutes, each has identity and although on the whole the actual musical arrangements centre on simplicity there is a lot to hold your attention. At times there is a neo-classical feeling as on the pizzicato strum and operatic vocal of ‘Mabon’. At others such as on the final stand out piece ‘Equianimi’ where spicy Arabic flavours are evoked, it is difficult not to feel the touch of Dead Can Dance.
There’s not a huge amount more to say here although be prepared for the odd surprise like what sounds like a chorus of Hebrew slaves perhaps working their way through ‘Soporanimi.’ If you like heavily atmospheric choral arrangements this is a rich listen that will not disappoint and has really made me want to check out the past three albums from the Seventh Harmonic discography.
http://www.seventh-harmonic.com
Pete Woods
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