01	Snowfall						06:30
	02	Lord of Night						07:13
	03	Song						02:03
	04	Ingenting						03:14
	05	The Withering of the Boughs						07:16
	06	Lines on an Autumnal Evening						04:52
	07	Now in these Fairy Lands						05:28
	08	Piletreet						01:47
	09	Till He Arrives						03:30
	10	Cryptomenysis						11:37
	11	Signs						02:04
	12	John Dees Lament						11:00

Jan Tariq Rahman, keyboards, recorders, crumhorn, kantele, sitar, bass pedals, bass, vocals, devices; Tirill Mohn, violins, classical guitar;
Audun Kjus, flutes, whistles, pipes, bodhran, vocals;
Sara Trondeal, vocals;
Eldrid Johansen, vocals;
Jacob C. Holm-Lupo, guitars;
Alexander Engebretsen, bass;
The Drummer, drums and percussion;
with many guest musicians

Eric Porter:
Mystical, magical, and mellow. A very laid back recording except for a few moments when the band decides to stretch a bit. You are begging at times for this band to open it up. My term for this band is Gothic-Folk Prog (for those of you who need classification). The acoustic guitar and flute are the bands' main weapons and are used to great effect providing the folk feel, and the added darkness that many of the tracks have convey an ominous gothic feel. The female vocals at times are so eerie but beautiful they will make the hair on the back of your neck stand up. The band works well within this framework, with an impressive array of instrumentation, and always adding Mellotron in all the right places. The opener "Snowfall" has an instrumental section that reminds me of early Steve Hackett. I must stress that this is very, very slow paced, and when I am in the mood for it, I love it, but I do not recommend this one for your next party.

Ignis Fatuus (95)
Ex Tenebris (98)
Sacrament (00)

This band from Norway combine many elements from the past and present. White Willow is reminicent of early Genesis or even the mellower parts of Anglagard but bringing in more of a Renaissance period sound with their two classically trained vocals (the third song titiled "Song" sounds right out of a Renaissance festval). VERY impressive singing in both English and Swedish that is very hard to find today. Ignis Fatuus is a collection of various recordings made between '92 and '94. These recordings features TONS of lush Mellotron along with Moog, cello, flute and even sitar! -- Phil Slatterley

White Willow is one of the latest Scandinavian bands to fit into the broadly progressive rock realm. Ignis Fatuus is a beautiful and sublime blend of folk, classical and renaissance musics in a gothic matrix, with seemingly few rock elements. White Willow is based around a core set of members and numerous guests. The main musicians are Jan Tariq Rahman on Mellotron, mini-moog, Fender rhodes, clavinet, various synths, crumhorn, recorders, sitar and a variety of other instruments; Tirill Mohn on violins; Audun Kjus plays flutes, whistles, Humbran pipes and sings; both Sara Trondal and Eldrid Johansen are the primary vocalists; Jacob C. Holm-Lupo is the guitarist, playing a variety of acoustic, classical, 12-string and electric guitars; Alexander Engebretsen is the 5-string bassist. "The Drummer" (which is how he is credited in the nicely produced CD booklet) is a drummer who desires to make his name as a jazz musician and thus is anonymous here. Finally, a dozen guests contribute cello, choir and vocals, guitar, bass or percussion. First in line of the dozen tracks on Ignis Fatuus is the six and one-half minute "Snowfall." An understated yet warming song, "Snowfall" sets the mood for the entire disc. Leading off with the dual vocals of Trondal and Johansen over Mellotron, their delicate duet soon gives way to acoustic guitar, flute and brooding cello, which is, in turn, followed by a quiet, simple but very effective mini-moog passage, with warm, rounded tones. In the same vein as "Snowfall" is "Lord of Night," which is augmented with bass pedals and synthesized organ. The brief "Song" is a renaissance-styled vocal piece with a tenor solo and four-piece choir. Other titles indicative of the overall mood of Ignis Fatuus are "The Withering of the Boughs," "Lines on an Autumnal Evening" and "John Aee's Lament." Occasionally, Rahman changes the mood briefly, quickening the tempo with the organ solo mentioned above or with the mini-moog solo that ends "The Withering of the Boughs." Indeed, it is often Rahman who guides the song with one or more of the many keyboards at his disposal. His solos are melodic, tasteful and very effective within the framework of each song. Each solo is enveloped within the other instruments such as recorder, classical guitar and crumhorn, and glazed with Trondal's ethereal vocals. Comparisons of style can not be readily made. Occasionally--only occasionally, and particularly when supported by the bass pedals--Rahman's keyboard work reminds of Tony Banks, while the crumhorn and recorders reminds of Gryphon. The guitar and overall feel of "Cryptomenysis," particularly the beginning, is somewhat reminiscent of Landberk (as is the gothic air of the album), yet the folk influence dominates. The lyrics are an important aspect of the subtle but definite gothic aura of the album. References to gravestones and fairies, snows and mists, as well as many references to the dark (the moon, "nocturnal spectral beasts," the night) add netherworld qualities to the already somber music. Ignis Fatuus will not be for everyone. Fusion freaks will find it too boring, while symphonic fans will find it lacking in layers of lush keyboards. Quiet and reflective, White Willow's music will appeal to those who enjoy gothic and folk elements in their music. If you are one of those, I recommend Ignis Fatuus highly. -- Mike Taylor
Ignis Fatuus is exquisitely gorgeous music; the closest comparison I can think of is Landberk's Riktigt Akta. If that doesn't help, think delicate and ethereal, but definitely progressive (i.e., this is not New Age twaddle). The composition and playing are marvellous and subtle yet still intense: nothing here will pound you over the head saying "Listen to us, can we ever PLAY!", but after a number of listens, you will be saying to yourself, "...can they ever play!." -- Greg Ward
Ignis Fatuus features a beautiful blend of folk, classical and rock music. Their instrumentation goes beyond the usual rock format to include classical guitar, flutes, horns, violin, cello, sitar and sublime classically trained female vocals (in English). Sustained use of acoustic instruments insure a certain softness to a sound which only occasionally shows its rock elements. The result is melancholic music inspired by medieval folk themes with the addition of an electric and symphonic touch that evokes The Court of the Crimson King. -- Paul Charbonneau
The power of Ignis Fatuus (Laser's Edge LE1021) lies in its subdued melodies, its stylish arrangements which cleverly combine rich acoustic instrumentation with Moog, Mellotron and rock guitar tones, and its idiomatic fusion of folk and gothic elements with symphonic rock. Indeed, at a time when the catch words of modern prog were faster, heavier and more, White Willow stood apart from the crowd by delving into mellow melodies and atmospherics where less is more and there is no hiding behind techno-flash or walls of synthesized sound. When everything works, it results in excellent songs such as "Snowfall", "Lord of the Night", the timeless "Song" or the otherworldly "Cryptomenysis". However, in some places the music fails to sustain my interest. I don't know whether it's the pristine but often undynamic sound, lack of truly memorable melodic material on some tracks or whether the band simply fails to get the best out of what they are working with, but there are a few tracks that remain insubstantial no matter how much you try to get into them. As strong a debut album as Ignis Fatuus is, it falls short of classic.
Ex Tenebris (LE1029) presents a more stripped-down and unpolished arrangements that unexpectedly end up giving the sound more depth and haunted ambience than the first album's more refined production. "The Book of Love", for example, is based simply on acoustic guitar and dual vocals, with Mellotron and rhythm section eventually layered in for a nice build-up, but the more refined melodic writing keeps the interest up. "Leaving the House of Thanatos" and "Helen and Simon Magus" are more band-oriented in the first album style, with warm, acoustic vocal sections alternating with harsher and darker instrumental sections dominated by electric guitar and gothic organ. There are also a few truly dark and chilling moments on this album, like "A Strange Procession..." with its rolling tympani and spectral Mellotron. In addition to improved sound and melodies, the third improvement is the new vocalist Sylvia Erichsen, whose clear voice punctures the music's darkness with choirgirl-like buoyancy while still having enough depth to avoid sounding feeble. The album's highlight, for me at least, is the 13-minute closing track "...A Dance of Shadows" which slowly rumbles and evolves through melancholy themes, spooky Mellotron and theremin textures and a resonant open-string guitar arpeggio to twice resolve its tension into what is one of the most hauntingly beautiful vocal melodies I have ever heard. So while Ex Tenebris is a moodier and has fewer formal features of prog than Ignis Fatuus, I find it the stronger overall album.

Sacrament (LE1034) combines the best of both worlds. A more cohesive and fuller group sound is evident throughout the album, with thundering organ, swirling synths and melodic lead guitar expanding and contrasting the acoustic folkiness that is still the basis of their sound. On the other hand, the limpid melodies, enchanted vocal stylings and spectral atmosphere of _Ex Tenebris_ are still evident especially in "Paper Moon", "Gnostalgia" and the beginning of "Anamnesis". It is in "Anamnesis" and the closing track "The Reach" that White Willow open up a bit more, with heavier guitar and more strident vocals from Erichsen, giving this album a greater dynamic range and a less sedate feel than either of the first two.The one instrumental track, "The Crucible", even has fast-paced Tull-like flute excursions that contrast nicely with a more ponderous symphonic section with its Hackett-like solo. Their strongest work to date, Sacrament strikes the best balance between White Willow's folk, gothic and symphonic rock elements. - Kai Karmanheimo

I just saw these folks at NEARfest 2001. In spite of the fact that their airline lost their equipment (I assume this means they were playing on borrowed equipment from other bands), they did an incredible set of music. There were several times when I felt that the notes they were playing would be a harmony if they were only a half-step higher (lower?) ... still, their set impressed me enough to go to the Laser's Edge table and buy their entire 3-CD discography.
The recorded output has none of the "not in harmony" problems I heard in the show, though they definitely use some oddball harmonies. I'm not sure if I really hear Celtic influence in their music or if Sylvia Erichsen's vocals just remind me so much of Loreena McKennitt that I think I'm hearing a Celtic influence. At any rate, the music mixes progressive, folk, gothic and even some light classical into an emotional and satisfying blend. All three albums are great, even the first one Ignis Fatuus, which hangs together as an album quite well in spite of being a collection of unrelated recordings.

But the crown jewel in their discography is clearly their newest album, Sacrament. It is by far their most mature recording, both musically and from a production standpoint. This is the one I would recommend to someone who wants to hear White Willow as a starting point album. There is a warning label not to turn it up too loud at the beginning or it might blow your speakers when it gets suddenly loud later. The album does have a wide dynamic range, but I wouldn't be too concerned as long as you don't crank the first part up to ridiculous volumes right off the bat. This album has enough smooth ethereal vocals to make it a good starter album for anyone you might want to get into Progressive Rock, with lots of intense prog and "resting periods" of softer, more ethnic folky sound, with great vocals. I thought "my wife would like this" when I heard them at NEARfest, and I was right ... especially Sacrament. But all three CD's are highly recommended. -- Fred Trafton












Jacob Holm-Lupo / White Willow

Norwegian group White Willow's recently annihilated the audience at NEARfest 2001 up in Bethlehem, Pennsylvania. The performance, along with their latest album, Sacrament, has unequivocally established the group as a major part of the current progressive scene. The man behind White Willow's distinctive brand of gorgeously executed, emotional, and slightly gothic influenced progressive is guitarist/composer Jacob Holm-Lupo, who has been the guiding force behind the group's various incarnations since their first album, Ignis Fatuus came out in 1995. We are honored to present this interview, conducted graciously via email, with Jacob, as he reflects on progress and musical philosophy, along with an alarmingly humble self-assessment of his group's NEARfest set. Enjoy.

White Willow has been a band been with a history featuring a number of different musicians. Why has this been? Ignis Fatuus in particular features a legion of numerous musicians, and judging from the liner notes, tracks were recorded in completely separate sessions. How were you able to retain such a consistent "feel" with the album considering how spread out the recording process was?

Jacob Holm-Lupo: In White Willow, the vision I pursue, the concept of the band, has always been slightly more important than the individual musicians. So whenever I have felt that one or another musician has not been moving along the "straight and narrow" path of White Willow, there have been changes. I find it quite natural, and a healthy way of keeping the band fresh and forward moving. As for Ignis Fatuus, I guess the general atmosphere of the music overshadows the fact that the sound and performance changes from song to song.

Do you think that you've finally reached a point of crystallization, where the musicians around you are dedicated enough to stick with White Willow for the long haul? How did the current lineup come together?

Jacob Holm-Lupo: I don't really see it as a goal to keep to same musicians in the band all the time. It is convenient in periods of frequent live playing, to have a tight band where the players know each other and communicate well. The current line-up is successful in that respect, and has certainly been together for quite a while now (2 years) while still remaining stable. The band came together in the wake of Ex Tenebris, when I had no band at all. I am not going to mess with the current line-up if I can help it. As always, though, the music comes first, so there are no guarantees.

How did you guys feel about playing NEARfest 2001? I thought the performance was mind blowing, and judging from the audience response, so did many other people. Did you expect that kind of reception?

Jacob Holm-Lupo: I was quite dissatisfied with my own performance and the band's in general. When I walked off stage I thought "This is the worst concert we've ever played". A large part of the problem was that the sound on stage was bizarre throughout most of the concert. Most of us did not hear ourselves. But I think enough has been said about that matter. Our overall impression of NEARfest was VERY GOOD INDEED. The response was awesome and very surprising to us, as we knew our music was very different from the other bands, very low key and non flashy. But people seemed to like that, and everyone was very nice. We had a great time. We also enjoyed seeing the other bands, especially Underground Railroad and Banco.

How would you explain the effect of festivals like NEARfest in a music community as small as that of progressive rock?

Jacob Holm-Lupo: I don't really know too much about that, but I have noticed that the number of recipients on the WW mailing list has tripled since we came back, so that has to count for something! Certainly, I think the potential audience for this kind of music is much larger than the "prog"-fans themselves think. NEARfest could have sold at least twice as many tickets if they'd had the capacity

How often do you guys play live in back home in Norway or in Europe in general? Is there a progressive circuit and fanbase there that offers the opportunity to play many shows? How comfortable were you in front of 1000 people at NEARfest?

Jacob Holm-Lupo: We don't play live on a regular basis, but whenever an interesting gig offers itself. There is a sort of "prog" community here, but we are not really part of it. I don't think it is very big. Lots of people back here are not too fond of White Willow, as we go against the grain of both proggers and mainstreamers. Comfortable playing in front of 1000 people? Not me! Johannes loved it, though.

One of the things about playing a show like NEARfest is that you would be sort of accepting the "progressive rock" label. Do you agree with this? Do you feel that being tagged with this label is either a) inaccurate or b) detrimental to people outside of "progressive rock" discovering your music?

Jacob Holm-Lupo: Difficult question. I have never really felt that White Willow fitted the description as compared to the bands that are supposed to be our "colleagues". We are nothing like Spock's Beard or The Flower Kings. We are a song writing band, an atmospheric band, a band mixing acoustic and electronic sounds. As such, we have as much in common with Crowded House or Dead Can Dance or Massive Attack. But I am also eager to emphasize that we do not deny the influence and presence of progressive rock in our music. Most of us grew up with Camel and Genesis and Crimson and the like, and it is our common denominator, although folk rock, singer/songwriters and classical music have been equal influences. I don't think playing a prog rock festival is detrimental to anyone. I like playing for the people who constitute our fan base. But I think it is the loss of the outside world that it is not willing to open itself up to what goes on on the fringes of contemporary music. Even though bands like Radiohead and Air and numerous other successful "modern rock" bands owe a great deal to progressive rock, the media are not willing to let go of their prejudices - to the extent that Thom Yorke has to make ridiculous statements about how "prog sucks" to not lose his credibility with NME et al. Lots of people who like Radiohead would probably love White Willow or Porcupine Tree if they were given half a chance.

Do you feel any kinship to the recent surge of Scandinavian progressive bands, particularly those from Sweden like Anglagard, Anekdoten, Par Lindh or Flower Kings?

Jacob Holm-Lupo: When we started out, the only other band we were aware of doing slightly similar things was Landberk, who I've always respected for their integrity. I also like a lot of Anglagard's stuff, especially Epilog, which is a beautiful record. Anekdoten always sounded like Crimson rip-offs to me, to be honest. The Flower Kings is just not my kind of thing, but they are all brilliant musicians. The difference between WW and all those bands is that at the heart, White Willow is actually a pop band (what an unspeakable revelation!). We like musical ornamentation and intricate, baroque arrangements, but at the center of every WW song lurks the unmistakable shape of a pop song.

In the booklet for "Ex Tenebris" you make explicit your stand on music piracy and (I assume) the issue of mp3 availability. Obviously this is an issue you feel strongly about. Do you think the music industry as a whole will be able to adapt to the increases in technology and ease of piracy? What do you feel the impact to be on independent music groups and labels?

Jacob Holm-Lupo: Frankly, that's a fight I've given up on. But I still am afraid for the existence of smaller labels and bands in the face of what you call "music piracy". It's not easy being a musician, especially if you're not aiming for the Top 40. The rules regulating royalties is the only guarantee you have that at least a fraction of what you spend making your music will come back to you. The Internet undermines the concept of copyright, and thus endangers the whole institution of royalties.

One of things I never get tired of asking progressive rock bands is how they interpret the relevance of "progressive" rock in today's musical climate. Do you feel that its the role of "progressive" music to always move forward and create new avenues of expression? Or is their room for bands who attempt to recreate and pay tribute to a bygone era (i.e. the Progressive Rock of the 70s). How do you interpret the overall relevance of "progressive" music today?

Jacob Holm-Lupo: If you listen to the latest Air album, or some of the post rock bands that are playing today, I would say they are the most progressive you can get today. But it is impossible to innovate in the same way bands did in the sixties and seventies, at least while still being listenable! To me, the craft of songwriting is one of the overlooked arts of our time, and honing that craft I would say is somewhat progressive. But I cannot possibly say that White Willow is at the forefront of anything. We are traditionalists. But we are not retro, either. We might have been, on our first album. But it gets kind of depressing living on memories of bygone ages. So while I appreciate the bands that are "keeping the flame alive" (Glass Hammer being the best practitioners of that genre), we are happy to remain slightly contemporary.

Do you write for yourself or with your audience in mind? What do you feel is the role of the musician in approaching this paradox?

Jacob Holm-Lupo: I write for myself. Doing anything else would be so pointless as to be suicidal. But in my intentions lies a wish to communicate, so there is naturally a concern that what I do should be understood. It is not a conscious thing, though, but a natural part of writing. I think the audience comes into the picture not so much in the composing process as in the arranging and production. In arranging, you give some order to the creative chaos, and in producing you add some sweet gloss to what might otherwise be a somewhat bitter pill.

When looking back over your previous three albums, what songs or albums do you feel strongest about? What do you feel is the legacy that White Willow is leaving behind? What are your future goals for this group, and yourself as a musician?

Jacob Holm-Lupo: I like them all. Ex Tenebris was a very personal album, so I feel a strong attachment to it - it feels like "me". The first one was just a lot of fun, we were fumbling in the dark, and came up with something that was a little bit unique. Sacrament is the crown of our accomplishments so far - from a non-personal viewpoint it is probably the most complete record we've made so far, and it was a huge step forward in terms of performance and production. Songs: I especially like "Snowfall" from the first, "A Dance of Shadows" and "The Book of Love" from the second and "Paper Moon" and "Anamnesis" from the last. Legacy? What a big word! Too early for that. But we want to create something beautiful and slightly outside of the world - something that gives the listener pause to reflect and yearn a little. Future goals? To reach a wider audience, and to make the perfect White Willow album!

Lastly, do you have any plans as far as returning to the U.S. to perform with the group in the future?

Jacob Holm-Lupo: Yes, in the wake of our next studio album we are trying to set up small US tour. It is something we really want to do, since the US of A have always been good to us! That's where our favorite fans are.

Big ups to Jacob for taking the time to answer these questions for us, as we certainly appreciate it. Hopefully we'll see that new studio album and U.S. tour relatively soon. I for one will be drooling in anticipation. Visit the band on the web at www.whitewillow.net for more info on the group, as well as contact and ordering information.

- Greg Northrup, The Giant Progweed [July 2001]







White Willow - Ignus Fatuus

Release Date: 1994

Track Listing
1) Snowfall
2) Lord of Night
3) Song
4) Ingenting
5) The Withering of the Boughts
6) Lines on an Autumnal evening
7) Now in these Fairy Lands
8) Piletreet
9) Till He Arrives
10) Cryptomenysis
11) Signs
12) John Dee's Lament

Member: Progladyte - 02/14/03

This CD was amongst a number I recently ordered on the net as I had read some encouraging reviews that led me to believe that I was in for another treat. First impressions were a little disappointing as the music begins in a very soft and mellow mood and the tempo and intensity never gets out of 2nd gear. The opening track contains some rather weak snare drum work with echo and sounds rather lame although the second installment certainly stays a lot closer to the mark.

There is a definite influence from the likes of Gryphon on some tracks as the crumhorn is put to good use and gives the music a folkish, medieval ambience. In fact, the quantity of instruments played on this disc is quite extraordinary and includes all manner of guitars, basses, sitar, whistles, percussion, flutes, violins and cello together with a plethora of keyboards that reads like a what's what of the ivory department. The playing is very neat and tidy without any flashiness or sudden outbursts of sound and the ideas are reasonably fresh without being totally in your face. The passages using flute and cello are very nice and lyrically, there is certainly nothing out of kilter.

There are some moments of minor brilliance as the female vocals have a somewhat angelic touch, particularly about _ of the way through the 6th track. Unfortunately, this short piece could have been used as an infectious and ethereal vocal anthem. Despite the loveliness of this all too short interlude, the band failed to capitalise on its potential and a mediocre song remained so. Pity, as the song could have been up there with the best classics. Ultimately, I failed to hear anything that would put this band on the global music map. I guess I was hoping for something a little more dynamic to follow with this music and that leaves me with a feeling there is a lot of room for improvement here in the replayability department. There are really no classic songs here and very few decent hooks to garner your interest in the first place. If you are familiar with the music of Iona, October Project, Clannad, Loreena McKennitt or even Enya, you know you can count on some pretty dynamic stuff which maintains your interest. Compared to these aforementioned bands, you'll appreciate the lack of any real substance to this CD.

Considering the enormous range of great instruments that were available to this band, I must confess to expecting so much more. I know this CD has received reviews, more conducive to the band's future longevity, compared to mine. However, when it's all said and done, this sure ain't gonna be the second coming of Renaissance or similar. Although the music is fairly soft and dreamy for the majority of this disc's entirety, I can't really see what all the fuss is about.






White Willow - Ignus Fatuus
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Release Date: 1994

Member: progladyte
Date: 2/15/2003

This CD was amongst a number I recently ordered on the net as I had read some encouraging reviews that led me to believe that I was in for another treat. First impressions were a little disappointing as the music begins in a very soft and mellow mood and the tempo and intensity never gets out of 2nd gear. The opening track contains some rather weak snare drum work with echo and sounds rather lame although the second installment certainly stays a lot closer to the mark.

There is a definite influence from the likes of Gryphon on some tracks as the crumhorn is put to good use and gives the music a folkish, medieval ambience. In fact, the quantity of instruments played on this disc is quite extraordinary and includes all manner of guitars, basses, sitar, whistles, percussion, flutes, violins and cello together with a plethora of keyboards that reads like a what's what of the ivory department. The playing is very neat and tidy without any flashiness or sudden outbursts of sound and the ideas are reasonably fresh without being totally in your face. The passages using flute and cello are very nice and lyrically, there is certainly nothing out of kilter.

There are some moments of minor brilliance as the female vocals have a somewhat angelic touch, particularly about _ of the way through the 6th track. Unfortunately, this short piece could have been used as an infectious and ethereal vocal anthem. Despite the loveliness of this all too short interlude, the band failed to capitalise on its potential and a mediocre song remained so. Pity, as the song could have been up there with the best classics. Ultimately, I failed to hear anything that would put this band on the global music map. I guess I was hoping for something a little more dynamic to follow with this music and that leaves me with a feeling there is a lot of room for improvement here in the replayability department. There are really no classic songs here and very few decent hooks to garner your interest in the first place. If you are familiar with the music of Iona, October Project, Clannad, Loreena McKennitt or even Enya, you know you can count on some pretty dynamic stuff which maintains your interest. Compared to these aforementioned bands, you'll appreciate the lack of any real substance to this CD.

Considering the enormous range of great instruments that were available to this band, I must confess to expecting so much more. I know this CD has received reviews, more conducive to the band's future longevity, compared to mine. However, when it's all said and done, this sure ain't gonna be the second coming of Renaissance or similar. Although the music is fairly soft and dreamy for the majority of this disc's entirety, I can't really see what all the fuss is about.



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Member: Benjamin1981
Date: 10/24/2003

I bought this album after listening to StudioMLive's internet broadcast of their 2001 performance at NEARFest. This show had an entirely different lineup than the one on Ignus Fatuus, but the music hooked me right away. This was at a time where I had had my fill of Yes and Genesis and the like, and was looking for unxplored musical landscapes to saunter.

This particular album capitalizes on the quiet, ethereal moments of prog, ultimately producing an entire album's worth of moments found otherwise in brief segments of fancier prog. Jacob Holm-Lupo, guitars, has much to do with the crafting on this album, but no one entity is solely responsible for the genius coming out of your speakers. This record is actually a composition of songs written by various members of the band who were members at different times. Almost making up for albums that should have been produced earlier, but they weren't able to do so considering they did not have a record contract.

Rhythm guitar on this album could be described as Hackett-esque, with open-string fingerpicking of bizzare chords occuring more often than not. The guitar soloing on this album is not neccisarily fancy, but one could easily note the proficiency level of lead guitar player as each note is played like a more precise Allan Holdsworth on pot.

Vocals on this album are wonderful. Considering that, they get away with a lot of Ooo's and Ah's in place of lyrics. Two vocalists appear on the album, both of which sound similar in my opinion. The voices are very soft and feminine, and this ends up matching the music quite nicely.
Lyrics are all written by Jacob, and are heavily influenced by classic writers and poets. The vocabulary used is pretty impressive to me, as I am a lyricist myself. Moreover, these guys are Norwegian!

This album also features a spectrum of flutes, cello, keyboards, drums, bass, violin, and all kinds of musical what-nots. I consider the drum and bass to be nothing more and nothing less than adequate, yet, the flute and keys have their many moments on the album. Infact, the keyboardist and the flautist had much to do with the songwriting on the album. One thing I will note is that the band had a Black-Metal drummer come in on "Cryptomenysis", and gave the album its heavier moments. This allowed for some really unordinary drum fills on the track, and this paired with the beautiful vocals and violin, has made it my favorite number on the record.

At first listen, the music came off as being overly soft and only a few of the tracks particularly excited me. Four months after having purchased the album, I am still listening to it on a daily basis. I would hope that all future audiences will spend the proper time on this recording to fully discover the brilliance that I have.
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