01	Anamnesis						09:11
	02	Paper Moon						06:44
	03	The Crucible						07:31
	04	The Last Rose Of Summer						03:23
	05	Gnostalgia						10:17
	06	The Reach						10:59

Brynjar Dambo : Keyboards, Glockenspiel
Aage Moltke Schou : Drums, Percussions, Glockenspiel
Sylvia Erichsen : Vocals
Johannes Seboe : Bass Guitar
Jacob Holm-Lupo : Electric, Acoustic and Classical Guitars, Vocals, Additional Keyboards and Bass Guitars
Ketil Vestrum Einarsen : Flutes, Recorders, Melodica, Additional Keyboards
Guests:
Simen E Haugberg - oboe (1, 3, 5)
Oystein Vesaas - ambient vocals (1)

Anamnesis
- I wrote parts of this song sitting on a train station in the middle of the night. Lyrics deal with the redemptive qualities of nature and of a certain sense of longing inspired by natural beauty. White Willow at its most romantic. Starts out in a folky mode, gets grandiose towards the end. Very Scandinavian tonality.

Paper Moon
- A slightly more direct and concise song than usual for us. No long build-up, no acoustic guitar noodling... Stadium rock intro. Lyrics about the transitory nature of life, and those few precious moments of acute insight and wholeness that must pass away so soon.

The Crucible
- An instrumental mixing mock late renaissance/early baroque styles with balkan folk music and 70's fusion. Melodica solo. Polyrhythms. Truly a crucible, or melting pot.

The Last Rose of Summer
- Wistful little acoustic song about love and loss.

Gnostalgia
- Melodic and melancholy. More gnostic gnonsense. Ties in lyrically with Anamnesis. Thematic developments in chamber music-like arrangements. Symphonic swells, acoustic serenity. Very White Willow.

The Reach
- Foreboding piece of music mixing gothic and fusion styles. Scary intro, dark lyrics. Strange time signatures. Nursery rhymes gone bad. Leaves you exhausted at the end. Katharsis.

Jacob Holm-Lupo, spring 2000

Reviewed by: Stephanie Sollow
If there's a "Nordic style" of modern progressive rock, it is that which is defined by the likes of Anekdoten, Landberk, and the late, lamented Anglagard. Norway's White Willow needs to also be included in that list, though their music is (overall) not quite as dark and brooding as the others (at least not here). Current "favourites" The Flower Kings are bucking that trend, relying heavily on the classic UK sound - e.g. Genesis, Yes, et al.

White Willow, on their third release, Sacrament, have created another stunning album. The production alone on this is great, allowing for the full spectrum of sound to be heard. There are moments when vocalist Sylvia Erichsen explodes beautifully from the music, when it's at its most powerful:the dynamics here between understated and expansive are engaging. In fact, there is a warning on the disk about this very fact; because "Anamnesis" starts out deceptively quite, gentle, but explodes five and half-minutes in - I can see one easily blowing out their speakers by playing this too loud, or perhaps more importantly, their ears! But, you'll want to listen to it loud, because it is very dynamic:in fact, headphones are definitely recommended, though you'll be denying those around you a wonderful listen.

Speaking of wonderful, that's a word that also describes Erichsen's voice, which sometimes sounds a bit like Annie Haslem, sometimes like Tracy Hitchings, and sometimes, believe it or not, like Pat Benatar (briefly). Now, I've said elsewhere that I'm not overly fond of Hitchings' voice, mainly with Landmarq, but here it is of those aspects I do like. The other voice I'm reminded of is a vocalist called Charlene (?) who had one "hit" with "Never Been To Me"* - but there is much more substance to the music that backs Erichsen that it is a voice comparison only. And, I should add, at times, such as during "Gnostalgia," she sounds a bit like Natalie Merchant.

But, it isn't all Erichsen, especially as White Willow is guitarist/keyboardist Jacob Holm-Lupo's baby essentially. The rest of the band -- the ensemble, actually, as that seems the more accurate term -- are Brynjar Dambo on keyboards and glockenspiel; Aage Moltke Schou on drums, percussion and glockenspiel; Johannes Sжbшe on bass guitar, and Ketil Vestrum Einarsen on flutes, recorders, melodica and additional keyboards. The playing is quite tight, quite warm:Schou's cymbals are often up in the mix, Einarsen's flute and recorder tones are crisp, sometimes light, sometimes heavy, but always beautiful. The balance on this disk is terrific. Despite some of the darker tones, this seems much brighter than Ex Tenebris does, which has been my favourite of their two previous releases (their debut was Ignus Fatuus). There is a guitar part during "Paper Moon" that is simply glittering; the notes are so crisp they reflect glints of light.

"The Crucible" is at times one part Jethro Tull (something about those flutes) and one part King Crimson (somewhat angular):I also thought of Italian prog, being classically influenced as it is: the name that came to mind immediately was Ezra Winston. All instrumental, it is a shifting environment of sound, leaving the Tull and Crimson behind for a:well, I don't know quite how to describe it. At one point dark, bass-percussion like sounds (glockenspiel?) bubble like hot lava, while keyboards parp and weave. Funky, in way. And yet, where it ends up isn't indicated by its beginnings as a very pastoral, Celtic-tinged, chamber-rock like piece.

This is followed by the Simon and Garfunkle-like "The Last Rose Of Summer," with Holm-Lupo on vocals as well. Erichsen's and Holm-Lupo's voices blend together quite well. "The Reach" is a very jazz-like track during it's middle section, and I'm not sure if it's Erichsen singing below her normal range in husky tones or Holm-Lupo, but there is a warm, smokiness to the voice, that gives this track a different character.

Oh, I just like everything about this disk; every track is a highlight and has its highlights. Sacrament is definitely one of the many albums that will make 2000 a memorable and important year in progressive music. I wasn't going to think about my top picks for 2000 yet, but darn it if this hasn't forced me to:if not the best release so far, it sure ranks high among them.

*Yes, there was a time when I listened to Top 40 radio and heard this song enough times that I can remember it's name:oh, okay, I bought the single at the time...

Contact:
White Willow
Hulda Garborgsv. 32
1384 Asker
Norway

Website: www.whitewillow.net
Note: will open new browser window

Eric Porter:
After White Willow's somewhat disappointing sophomore effort (Ex Tenebris), I decided to get this based on the strength of the debut CD, Ignis Fatuus. I am quite happy with the results here: more instrumental excursions, and the band regains the more spiritual sound of Ignis. Much of this has a folk flavor, with the acoustic guitar and soaring female vocals, that is slowly built up by adding the other instrumentation.
The first track, "Anamnesis", throws in an uptempo section, but the vocals are pretty unbearable to these ears, sounding like some off key screeching. Other than this, the female vocals are very well done. A Hackett-esque guitar solo with some church organ and woodwinds creates an excellent symphonic outro. With the past two releases, I warned everyone that the band rarely gets out of first gear, but on this release they do turn it up a notch on most tracks. I find the use of the woodwinds and keyboards intriguing, and if anything their sound is unique.
The instrumental passages of "Paper Moon" again offer some tasteful guitar work and a symphonic backdrop. "The Crucible" is an instrumental track with a classical flavor, opening with acoustic guitar and combining flutes, recorders, and church organ to create a very pretty melody that washes over your ears. Also a little mellotron to lift the spirits. It then segues into a Tull-like (due to the use of flute) interlude with many changes in dynamics, creating my favorite track on the disc. One of the flute sections in particular is very similar to Steve Hackett's "The Steppes". The folk arrangement of "The Last Rose Of Summer" is pretty, and this is really the only completely mellow piece on the CD.
The appearance of mellotron in "Gnostolgia" and the arrangement of the woodwinds adds to the mystical flavor. The music is more vibrant here, as the final track "The Reach" again ups the ante, with an eerie introduction, a jazzy flute solo, and various sections full of intensity.
Overall, I really enjoy this band and feel they have recaptured the magic of Ignis Fatuus. The listener will take note that this is folky one minute, slow and brooding the next, with an overall dark edge to it. The forays into heavier upbeat sections are few and far between, but when they do hit, they pack a punch. If mellow translates into boring for you, then you won't enjoy this. Flawless production, in combination with a wealth of instrumentation, make this a distinctive musical listening experience.

Brandon Wu:
There really are quite few progressive rock bands that explore dark, melancholy territory the way White Willow does. The band has a reputation for being very mellow, too mellow for some listeners. On their third album, Sacrament, however, they turn it up a notch and produce a very balanced album that should satisfy anyone that thought earlier albums were just too quiet.
Making liberal use of acoustic guitar, flutes and lush keyboards, the band weaves soundscapes that are usually laid-back and relaxing, anchored by deep bass and overlaid with Sylvia Erichsen's high, almost girlish vocals. However, they also periodically lash out with intensity, led by screaming guitars and a truly huge keyboard/organ sound. Comparisons are difficult to draw, but in mood and spirit I am reminded of a more interesting and more dynamically varied Landberk.
Of special note here is the production, which is crystal-clear and utterly clean while still retaining warmth and feeling. Everything sounds perfect - the vocals, flutes, and records are all very clear, the acoustic guitar shimmers, and the mostly subtle percussion work comes through quite well. Even better, the performances warrant the production; while you won't find any shows of virtuosity here, the music has an air of confidence that indicates high proficiency. My only complaint might actually be with Erichsen's vocals: most of the time, they are wonderful, but sometimes she sounds a bit too girlish for me (generally, I prefer slightly deeper female vocals, which are less prone to sound weak and wimpy), and also her accent occasionally comes through. In fact, I was quite disappointed when I found that the album's lyrics are all in English. It doesn't detract from my enjoyment except on "The Reach", in which Erichsen angstfully sings "Ring around the rosies..." three or four times and it sounds kind of, well, embarrassing.
My favorites are "Paper Moon" and "Gnostalgia", two compositions which are generally quiet and brooding while still maintaining an edge; Erichsen's vocals are strongest here as well. I love the uneasy balance between mournful tranquility and violent noise. Symphonic prog fans that enjoy wide dynamic ranges in their music, as I do, should really take to Sacrament. Highly melodic, well-composed, and stunningly produced: the third time's the charm for White Willow.




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White Willow - Sacrament Country of Origin: Norway
Format: CD
Record Label: The Laser's Edge
Catalogue #: LE1034
Year of Release: 2000
Time: 48:09
Info: Homepage

Tracklist: Anamnesis (9:11), Paper Moon (6:44), The Crucible (7:32), The Last Rose Of Summer (3:23), Gnostalgia (10:18), The Reach (10:59)
Sacrament is the third album from the White Willow repertoire, two years after the critically acclaimed Ex Tenebris. In two years there has been a total shake-up within the ranks of this group with only White Willow leader and guitarist Jacob Holm-lupo together with vocalist Sylvia Erichsen retaining their positions and Lupo being the only original member left. In come Brynjar Dambo on keyboards, Aage Moltke Schou on drums, Johannes Sжebшe on bass and Ketil Vestrum Einarsen on flutes. In fact in Lupo's words this is the first stable lineup that White Willow have had in their history so far.

What should one expect to hear on this new release? First of all the fact that there is a permanent flutist within the lineup is already suggestive of an acoustic sound. There is a heavy leaning towards the progressive folk style that is symbolized by Jethro Tull, with many neo-prog influences, especially as regards utilization of the keyboards, as well as pure folk. A quick run through of the band's biographies as well as their major influences quickly confirms this with artists like Nick Drake and Joni Mitchell being mentioned alongside prog-greats such as King Crimson and Soft Machine. In fact what we get on this album is a fusion of all the styles that these musicians represent.

Anamnesis kicks of this album and my first impression was that here was a Scandinavian band doing its best to emulate British folk-rock bands such as Fairport Convention and Steeleye Span. In fact Sylvia Erichsen's voice is both rich and smooth; at times sounding uncannily like Sandy Denny or Maddy Prior. Only half way into the track does a certain momentum pick up with more of a prog-influence seemingly present. Erichsen's voice rises to a wail while the rest of the band are content to act as filler's in creating a backdrop for her voice. Even the instrumental passages remain soft and are interplays between the various instruments with neither musician overdoing it.

When seeing the title Paper Moon, I wondered if it was a form of tribute to the late Nick Drake, one of the major influences on the musicians in this group. Indeed Nick Drake must be the "Paper moon who came, and left too soon." On the other hand this track is much more intricate and features more than just a singer-songwriter and his guitar! In fact there is much less of the acoustic folky feel; we had been regaled to on the first track, with a sound bordering on the neo-progressive.

The Crucible is a true instrumental with the initial segments of the track having that medieval feeling courtesy of Einarsen's flute which takes over the reins of this track sounding somewhat like Gryphon or more lately Blackmore's Night. There is a dance-like touch to the rhythm here until half way through when the mood changes with the track picking up in dynamism to give a Jethro Tull feel to it.

Last Rose Of Summer, and I thought to myself that this was an album full of tributes (in this case Judas Priest), but I was wrong. What we have here is pure folk music. Sylvia Erichsen's voice is up there to compete with the best of British female folk vocalists, and here we even have a duet between Erichsen and Jacob Holm-Lupo.

Gnostalgia starts of in a similar vein to Last Rose with Erichsen sounding so much like Sandy Denny that I got gooseflesh. What seems to be a White Willow characteristic also applies here. Most if not all their tracks start off in a soft gentle acoustic manner to suddenly break into a rhythm-driven instrumental. The flute dominates this track during the instrumental section giving that air of melancholy.
The Reach is in my opinion the best track that we have on the album. The introduction is dark and foreboding with a feeling of impending disaster or tragedy. Nursery rhymes are sung in a tragic manner until this is picked up by the musicians. King Crimson meets Jethro Tull is what we have here on offer. The vocals are kept slightly in the background making them hard to discern creating more of an air of uneasiness. With a mixture of styles and tempos this track is the masterpiece of the album.

With this album it seems that White Willow have set their course. This is one for the lovers of the softer side of progressive rock and/or those who like folk-prog. It makes a very interesting listen and augers well for the future. I can understand why The Billboard Guide To Progressive Rock has hailed White Willow as "one of the most significant groups of the progressive era".

Conclusion: 7.5 out of 10.

Nigel Camilleri





White Willow - Sacrament (2000)

An excellent album from this modern Norwegian prog group. I was hesitant to review this for a while, because though I recognized it as an album people would enjoy, it didn't really sink in for me. Repeated listenings proved fruitful, as White Willow's somber, elegant and generally quite subdued progressive rock proved quite addictive, highly enjoyable and immensely relaxing. The band plays in a sort of gloomy style rife with classical flourishes and heavily gothic overtones, very moody and revealing upon frequent listening. The compositions are consistently fantastic throughout, making use of flute, keyboard and guitar for melody as well a great rhythm section that plays a background role before driving into the spectacular emotional climaxes. Compositionally, Sacrament is superb in all facets, though the "harder" sections, with driving, fantastic melodic themes, are a little to sparsely utilized for my taste. The album is dominated by quieter music, which is fine, as the band does it well. The female vocals, which are quite prominent, are something everyone seems to be raving about in reviews I've read, but I can't really get into them. The whole female vocalist thing is getting a little gimmicky now, and often sound like they were added as a easy way to achieve a more "ethereal" atmosphere. Once I stopped focusing on the vocals, and just allowed the general atmosphere of the album to take hold, everything became way more effective.

I haven't heard the band's earlier albums, but I've read that this one could be their strongest work yet. Musicianship is impeccable, and their style of atmospheric prog is generally extremely beautiful and impeccably composed. Definitely one of the finest albums from 2000 and a band I look forward to seeing at NEARfest 2001. - Greg Northrup [February 2001]