Summer has a-come on in, and I can't say that I mind. For one thing, the East Coast claims that we've stolen their sunny weather; for another, it means a plethora of new albums as record labels kick their release schedules into full gear. I've such a cornucopia to offer you this time that it's hard to know where to start: Celt-rockers Tempest have a new album out, Christopher Lee takes a guest-star turn with the Tolkien Ensemble, Sàmi singer Mari Boine goes electronic, the Telarc label rediscovers Alan Hovhaness and Pagan singer-songwriter Wendy Rule brings us a new CD all the way from Australia. Plus, check out the very end of this column for some way-cool live music recommendations.
Fans of Celtic-flavored folk-rock will want to pick up the latest from Tempest, Shapeshifter (Magna Carta). Despite over a decade of sound and lineup shifts, Tempest sounds as solid as ever as they present a mix of traditional and original songs, the latter mostly by bandleader Lief Sorbye. Associated with the SF/fantasy set since their 1992 release, Serrated Edge, Tempest are in good company; other bands who have connected progressive rock with fantastical worldviews include Led Zeppelin and King Crimson. The rock half of this musical equation has a definite 1970s bent, especially on instrumentals like "Catalina Island." "Old Man at the Mill" and "Cruel Brother," on the other hand, have something closer to a straight-folk interpretation, not unlike the early recordings of Cordelia's Dad. There's something for everyone on this CD, including a lot of tasty fiddle work.
Speaking of tasty: imagine, if you will, the ring rhyme from Lord of the Rings recited by Christopher Lee. If you like the sound of that, then you have at least one reason to pick up the latest CD from the Tolkien Ensemble, At Dawn in Rivendell (Decca), which opens with Lee reciting the famous verse. Nobody, but nobody can rolls their Rs the way Lee can. For those not familiar with this group, the premise is simple: since Lord of the Rings (the books, if not so much the movies) is full of singing, the Tolkien Ensemble set the author's printed words to music. Three CDs have been released so far, of which the third and latest is by far the most successful -- the earlier recordings were a bit lugubrious when it came to the more light-hearted lyrics. Some of these have been rearranged and re-recorded, to pleasing result; the "Walking Song" and "Drinking Song" are both here. The Tolkien Ensemble consists of classical musicians, which lends a certain formality to the proceedings, but it's still a treat to hear these lyrics and poems brought to life. As anyone who's seen The Wicker Man knows, Lee's singing voice is as impressive as his speaking voice, and in addition to several recitations (including a spine-tingling rendition of "The Riddle of Strider"), he sings a couple of Treebeard's songs, accomplishing naturally what even John Rhys-Davies required digital processing to achieve: a voice that sounds like it's coming out of the Earth. (The tune for the "Bath Song," by the way, will sound familiar to anyone who's seen the extended version of Fellowship of the Ring.)
From the distant north comes a wealth of music: two releases from Mari Boine, a Sàmi singer who integrates the instrumentation of a variety of cultures with traditional-styled original songs. On Eight Seasons (NorthSide), drums from Africa, flutes from South America and jazzy harmonies from the United States commingle with Sàmi joik, a tuneful, chanting vocal style. Boine draws on a strong cultural foundation, not to mention a deep personal commitment to her art and its expression, which elevates this recording high above most of those that utilize pan-cultural instrumentation. Here, one has the sense that Boine has chosen each instrument carefully, for reasons musical as well as personal. This attention to detail applies equally to the music itself, resulting in fascinating textures of sound and song. Equally enthralling, in quite another way, is Remixed Oðða Hàmis (NorthSide). Consisting mostly of dance remixes of Boine's work, this CD is the perfect way to get your trance on. Superficially similar to other dance CDs featuring floaty female vocals, this one has substantially more depth because it's based on such solid raw material. There are also a couple of tracks more suited to meditation than dance. Present in both of these excellent recordings, however, is a deep and abiding love for and interest in the natural world; a luxury in modern life, this understanding was essential in traditional Sàmi culture. Boine successfully translates it across every possible barrier -- linguistic, cultural, historical and musical.
When looking for music to cover for this column, there's always at least one item I pick up at random, simply because something about it looks interesting--the title, the artist, the genre, sometimes even the cover art. This issue's random selection is a collection from twentieth-century composer Alan Hovhaness, gathering three symphonies and one orchestral single-movement piece under the title Mysterious Mountains (Telarc). Hovhaness hasn't received as much attention as, say, Aaron Copland or Leonard Bernstein -- in fact, both of these composers were not overly impressed with Hovhaness's work -- and his music is not as groundbreaking as that of these two giants of American music. He was, however, astonishingly prolific, and while Copland and Bernstein explored American folk and jazz traditions, Hovhaness ranged farther afield, incorporating musical elements from Japan and India. Some of these are audible on Mysterious Mountains, which includes symphonies in honor of two mountains in particular: Glacier Peak and Mount St. Helens, the latter of which has a rousing third movement which deliberately recalls the eruption of 1980 (which Hovhaness evidently witnessed). "Storm on Mount Wildcat," a single-movement piece, may remind listeners of Mussorgsky's "Night on Bald Mountain" of Fantasia fame. Hovhaness was keenly aware of the spiritual importance of mountains in many cultures and traditions, particularly those of Southeast Asia, and that awareness strongly informs the pieces included here. It's an intriguing collection from a chronically underrated composer.
The next release from Lúnasa seems to have been delayed again, but I've got one gold medal of a consolation prize for you: Australian pagan siren Wendy Rule has a new CD out. Titled The Lotus Eaters (Shock Records) and just released in May, the fifth full-length release from Rule is an intriguing collection of finely textured songs. With a greater emphasis on acoustic instrumentation, and even the occasional unaccompanied voice, The Lotus Eaters has a strong, personal impact. Rule's voice is a versatile instrument, reminiscent at times of Stevie Nicks, but with a greater depth that reminds one of singers of Portugal and Italy. Rule's sense of spirituality is very present in her songs, particularly in a gorgeous invocation to Hecate about two-thirds of the way through the album, but never overwhelms the material -- play this album for non-pagans and they might not even notice. That said, several of the songs here are perfect for ritual use; some are ideally suited to dancing, while others, especially the title track, have a more meditative bent. This stunning CD is currently only available as an Australian import -- but, as an experiment, I ordered one for myself and it arrived in under two weeks via the least expensive shipping method, so don't let that deter you. (Besides, exchange rates are favorable right now.) Visit the artist's website at www.wendyrule.com for how to order.
Save these dates: Carrie Akre plays the Tractor Tavern on June 21; the Fiddlers 4 are at the same venue a week later on June 28; there is a benefit for the West Memphis Three at the Showbox on June 29; Blöodhag plays Chop Suey on July 1 (I'll see you there!) and the Afro Celts (formerly Afro-Celtic Sound System) are at the all-ages Northgate Theatre on July 15.
Genevieve Williams is a Seattle freelance writer and drummer. She can be reached at rimrun@drizzle.com. Local and/or pagan musicians are encouraged to submit material for review.