consider, that you are not right. assured..
consider, that you are not right. assured..
They fit so beautifully with the harp - hitting those same kinds of intimate heights - oozing heartfelt warmth. There are moments on this album that make my skin crawl like a welcoming rush of young baby caterpillars climbing my torso. It's beauty like crystal, though never as sterile and clear - it is folk music with heart and soul - something dug straight out of the ground like a pound of potatoes - something familiar and old.
The last track for example uses bag pipes in a way that stretches the imagination - and serves up something entirely different than all those burial scenes you get in Hollywood flicks - though a thousand times more gripping and essential - essential in a manner that makes you think you're from Ireland or Scotland and have fought with William Wallace, but in a modern war where you afterwards went out drinking beers and listened to blues whilst dancing, twirling and yelling profanities in the street.
This music bridges time itself - brick by brick - all the way back to the original Celtic tradition - straight up to the electric guitar and all of the fire it brought with it. This island is imagined made of three concentric circles, and those are the three parts of this symphony. The first circle stands for minutes starting with a Krautrock mood for the first 5 of them.
It makes me think to Amon Duul but in this case it's music, not just a trippy band playing bongos on the beach.
After this a Keltic section starts. It contains some female speech and this part is quite similar to Lucia Hwong. Effectively Stivell played on her "Secret Luminescence" more or less in the same period. When the speech ends it's just celtic which turns into a chaotic symphonic part close to the end when the celtic mood is restored by the pipes. The second circle is and opens totally symphonic. After 8 minutes a typical Stivell's harp brings the listener to Bretagne, but the surprise is at about minute 12, when there's the most progressive part of this track.
It's clear why the only other review of this album currently on PA makes a distinction between the first 30 minutes and the rest. Who likes the Clannad of the 70s or bands like Malicorne will surely like the second half of this "circle" on which bass and drums add a touch of prog to the druidic ambient. The third circle is unlikely the inner as it's really bigger. It takes more than 30 minutes and starts with harp and wind instruments which behave like birds in a cool spring morning.
You can like it or not, but this is the kind of music that I effectively expect from Alan Stivell. The following section sees Alan singing on a piano base which is later improved by flutes and female voices.
As often happen in music, knowing what a song is about helps in being more receptive. It's a land of eternal youth and this part sounds like a hymn, a ritual. At minute bass and drums are added and Alan's vocals are now a choir. Back to prog. At minute 16, more or less, there's the most happy moment of the whole album with a captivating rhythm, pipes and winds but after one minute only it moves into minor chords and fiddle.
Still prog folk but darker. It's a section of sudden changes: drums and bass accents for a while, then bodhran and flute, then pipes.
Each single part is quite good but it's not easy to follow. At minute 20 it's the usual good Stivell, the kind of music for which he's included in the prog-folk subgenre, for 3 minutes only Too many changes.
This is the defect of this 30 minutes track. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Other popular celebrities Dan Ar Braz. Search the latest about Alan Stivell on Bing. Timeline All. AMzer AMzer released. World of the Alive World of the Alive released. Emerald Emerald is the 23rd album by Breton musician Alan Stivell, …. Jazz fusion.
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