As I write the Imbolc installment of Earth Tones, the sun is coming up to the east of my house in Seattle. There's fog soup in the Duwamish Valley this morning, and the sun appears to rise out of it like a ball of fire, boiling away the vapors. It seems appropriate.
This time around, for your listening and ritualing pleasure, I've gone a little bit lighter. I've got some Welsh folk music, courtesy of Welsh group Ffynnon, as well as some Scandinavian fiddle from Harv. Diane Arkenstone has a new collection titled Jewel in the Sun, and Finnish group Gjallarhorn goes global with Grimborg. If you still want to get your goth on, though, Bella Morte might just fit the bill with The Quiet. If, on the other hand, you need something more lighthearted at this time of year, Canada's The Tartan Terrors are for you.
Most of what you'll find in the Celtic section of Tower Records or Silver Platters is Irish, or at least started out that way, even if the final result bears little resemblance to its source. But of course there's more to Celtic music than that, and Green Linnet is in on the action once again with Celtic Music from Wales, the debut album from Welsh trio Ffynnon (pronounced fun-on). The material on this enchanting album is mostly traditional, and mostly Welsh, with one or two exceptions (one being a Scottish border ballad, another a Breton dancing song sung in French). The instrumentation blends the traditional with the modern, including as it does keyboard, accordion and six-string bass (bassist and guitarist Dave Reid is also a jazz musician) along with the bodhran. Lynne Denman's vocals are the centerpiece throughout; the instrumental accompaniment is generally sparse and tasteful. All of this makes for a rather low-key collection, ideal for a quieter ritual or just a contemplative rainy afternoon (and gods know, we've got plenty of those!).
This time last year, I covered Aquaria (Paras), the then-new release from Diane Arkenstone. This year, Arkenstone returns with Jewel in the Sun (Neo Pacifica), a similar collection of trancey, largely instrumental material centered on a particular theme. While Aquaria focused on water, Jewel in the Sun has an airier quality, which according to Arkenstone is quite deliberate. That said, some of the tracks on this CD are rather more energetic than others; while the opening title track starts things off nicely with a sweeping cinematic beginning, some of the material that follows it tends to recede into the listener's background. "Beyond Borders," though, has a wide-open feel, complete with soaring vocals, and "Mirror of Sand" features some tight, compelling percussion. "The Elektrik Sky," though, is a particular highlight. Faster than the others, it's got an upbeat, danceable rhythm. While not as compelling as some other recordings of its ilk, Jewel in the Sun does have some glittering moments that are worth bending an ear to.
Those looking for something a little rougher around the edges might want to try the latest release from Gjallarhorn, Grimborg (NorthSide). The third album from this group, which hails from a Swedish-speaking region of Finland, is rooted in that region's musical traditions, but expands on them to a more global sound. In addition to local instruments, they also use a didgeridoo, a variety of percussion instruments including a djembe and a tam-tam, a marimba, timpani and basically anything else that contributes to the overall effect. Most of the songs are medieval in origin, adapted and arranged by Gjallarhorn in their own distinctive style. Jenny Wilhelms's vocals glide and sweep over the music like a swan on a lake. The music, in contrast, is generally a good deal busier and more active, often with multiple contrapuntal rhythms going at once. Altogether, this forms a coherent whole that never fails to catch the ear. Gjallarhorn take their material through some interesting musical twists and turns, never allowing it to fade into the background. The group's name refers to the mythological horn the Norse gods used to get mortals' attention. Their music will certainly command yours.
If you need something with a still harder edge, The Quiet (Metropolis), the latest release from Bella Morte, might fit the bill. There's little else I've heard in the past several months that's this good for getting your goth on. While Bella Morte make use of all of the standard goth-dance-darkwave tropes, they do so in a fresh and interesting way that should convince you that you haven't heard this kind of thing a thousand times before. It's a successful mix of familiarity and freshness that's best played at high volume. Bella Morte make very nearly the ideal accompaniment for the darkest time of the year, with their songs of death, pain and loss. However, unremitting darkness is boring without contrast, and Bella Morte clearly know this. Every so often, as with the enchanting "Hope Again," they let a little daylight in. Good stuff as the year tilts toward renewal.
On the other hand, if you're looking for something a little lighter in spirit, the Tartan Terrors might just fit the bill. Allow me to vent a bit on the whole Celtic music trend: A lot of the recorded results lean heavily on the spiritual element, with a severe lack in the departments of humor and lightheartedness. That's fine, except that it tends to ignore the fact that a by-no-means insignificant portion of this music was intended to be sung while drinking -- testament, surely, to the fact that some of the best, deepest spiritual experiences in the world are to be found in bars, with the help of a pint or six, and several close friends. The Tartan Terrors understand this, which is why their CD, Scots on the Rocks (Tartan Terrors, Inc.) consists of superb musicianship and broad humor in equal measure. Frequent guests at faires and festivals, the members of this intrepid band, which describes itself as "Canada's Premier Celtic Comedy Troupe" (more than one of those might be too much of a good thing), aren't just good musicians -- and they don't just play Highland pipes, either, although that's in their repertoire and they're quite good at it. Scots on the Rocks also includes plenty of jokes, high spirits and at least one blues tune. While the Tartan Terrors are the kind of group that's best experienced live, Scots on the Rocks is guaranteed to bring a lift to your spirit and a smile to your face. And some days, that's really all you need.
Fans of fiddle music will want to check out the latest release from Harv, titled Töst (NorthSide). Centered around fiddle duo Magnus Stinnerborn and Daniel Sandén-Warg, leavened with backup musicians and guests, Töst is a bonanza of instrumental music to suit every mood and need. Much of it is fabulous for dancing; give a spin in particular to "Ånonschottis," "Peer Reel" and "The Suite." Harv can mellow out as well, though, as they do with "Marianne Sinclaire" and "The Emperor," which closes the album. Though not as tongue-in-cheek as Scots on the Rocks, Töst has a similar lightheartedness that's quite appealing, especially if, like me, you've had enough of going off to work and returning in the dark to last you another turn of the wheel or two. Harv wouldn't sound out of place at the Tractor Tavern, or possibly at Fiddler's Inn; their music elicits feelings yours truly associates with beer, companionship and good times. Prosit!
Genevieve Williams is a Seattle freelance writer and drummer. She can be reached at rimrun@drizzle.com with feedback, suggestion, or recommendations. Local and/or pagan musicians are encouraged to submit material for review.