Author Archives: celtadmin

SeeD – Through The Veil (2017)

06 Mar
celtadmin
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Well, I tried. I really tried… I tried to make a impartial, objective review of the New SeeD album Through The Veil and I couldn’t. It didn’t work. Why?
Since 2015 I have been following SeeD and I just love them. I love the positive, cheerful energy they spread on stage. I love their ‘outside of the box’ thinking. Recording your debut CD in a forest? Why not! Energy breakdown on a Spanish Festival??? Just step off the podium and build the biggest party ever I front of it! (see picture on the right) Swapping instruments and play a song like that ‘life on air’ during a CeltCast interview? Sure we dare to do that!
I love to see their friendship on stage and I love the way they interact with the crowd, with the fans. Ánd I LOVE their music!! I’s so cheerful and positive. It gives you a smile the minute you hear it. And after all that, they recorded Through The Veil together with my favourite sound ‘artist’ Fieke van den Hurk, at the Dearworld studio. I give up. I’m biased. Big time!


After the intro -with impressive singing from Sara- the first notes of the title song Through The Veil take you into the magical realm of the fae, the gnomes, the goblins and seedlings. Just as Portal To Elfland before it, the CD is a nice mixture between instrumental songs and vocals. With a big role for Koen van Egmond on solo flute. He, in my opinion, is one of the best solo flutists in the scene. Having the ability to tell a whole story with only his flute. Just listen to the titel song Through The Veil, Seedling, or FFuya and you’ll know what I mean. As a band SeeD epitomize the spirit of the pagan folk scene. Their approach to music is free spirited, sometimes a bit unconventional, but always pure from their hearts. It says enough that the band sees friendship as the main force behind their music. In a way SeeD reminds me of the way music was made in the 60’s at the height of the flower power. It has that same sense of freedom, that same feel of love and that same captivating happiness running though it.

For those who don’t know SeeD yet, they play pagan folk using Flute, percussion, bouzouki and slidgeridoo as their main instruments. The lyrics are musical fairy tales. Telling the stories of gnomes, goblins, seedlings and all the other creatures that life in the magical world of SeeD. Just as a proper fairy tale is a bit gruesome and has some life lessons hidden in it, SeeD is not afraid to pack a serious message in their stories as well. De Gnoom, De Heks En De Boom -sung in Dutch- or Thorny Vines are good examples of that. Giving the band’s lyrics an extra quality. As mentioned Through The Veil is recorded in the Dearworld studio with Fieke van den Hurk at the controls. She managed to give the CD an open, crisp and fresh sound. Almost as if it was recorded life in one take. Something that works well with SeeD’s style of music.
All the songs on the CD are lovely, but The Heron deserves a special mentioning. The heron -the bird that is- is Koen’s totem animal. And in this song he honours her. The song itself is an earworm that you really can’t get ride of, and features some stunning flute improvisation from Koen in the middle of the song. Making it one of my highlights on the CD, actually one of the best instrumental pagan folk songs I’ve heared. Stunning.
Another highlight is Lullaby. A love song that shows how much Koen has grown as a singer in the last years, performing on stage. His voice and Sara’s blend beautifully. And it is already a favourite among the fans.

But I shouldn’t focus too much on Koen alone. All play an important part on this CD. Just listen to the percussion and slidgeridoo on The Heron. The song wouldn’t have the impact it has, if it wasn’t for the rhythm section behind it, setting the tone in the intro. Same goes for The Hobgoblin’s Gift or The Goblin’s Pogo. The percussion in those songs is so important, they wouldn’t work without it.
Now what more can I tell about Through The Veil? I could tell about the good vibes it spreads. Play Seedling, Roots, the Goblin’s Pogo or The Hobgoblin’s gift and I guarantee you an instant smile. Or I could mention the tender part of SeeD, the songs Winter, Lullaby and The Heron are beautiful examples of strong powerful pagan folk ballads. Now I could go on and on but I won’t . Bottom line is: SeeD made a strong pagan folk CD with Through The Veil. One that I can highly recommend, with a huge smile on my face!

Cliff

PS: After proofreading the review Koen told me that 10 of the 13 goblin voices were done by Robin Dekker. Robin kept coming up with new goblin voices he could do, and then would rush back behind the microphone to do yet another one. Koen also confirmed that the fujara flute solo in The Heron was indeed an improvisation. ‘The heron was actually 90% written ánd improvised on the day of the recording’ Koen told me. Two lovely behind the scenes ‘fun facts’ I didn’t want to keep to myself.

– Text editor: Diane
– Sleeve art design: Robin Dekker
– Photo of SeeD in Spain by SeeD pagan folk.
– All other pictures taken at Castlefest by Cliff de Booy

The Royal Spuds – Unforgotten Lore (2018)

30 Jan
celtadmin
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From the moist dirt of South Holland a new kind of tuber emerged. The kind that walks on two legs and is fused with an instrument of choice. Some might say it is a spud, but it is not just any spud, no it is a Royal Spud! Perfect for a half-baked punk mash with chunks, suffused with a traditional Irish shamerock ‘n’ roll sauce. As befits a ‘real’ spud the possibilities with it are endless! And remember, just as with any salty fried spud, once you have had a taste of it, you will be left craving for more.
With this free interpretation of their band bio we can proudly present Unforgotten Lore, the new EP of the Royal Spuds! What? A punk folk band on CeltCast? Yes, because with A Man they have written a semi-acoustic punk folk ballad that fulfills all the criteria that a song needs to be played on our livestream. And I for one am thrilled about that. The Spuds’ music takes me right back to the early 2000’s, when I was still volunteering in an alternative youth centre, and I regularly crashed the dancefloor on tunes from The Killers, Reel Big Fish, Rancid‘s Time bomb, Dropkick Murphys, Chumbawamba and the Royal Spu…… Wait a minute, not so fast. Not the Spuds. Although their music would have fitted perfectly in this list, their story starts a wee bit later. Around ten years later actually. To be precise it starts in 2012 with their debut album Wanted, Drunk ‘N’ Alive!

At the time they sounded just the way a young punk folk band should sound: rough, tough and pure. Sound wise you could compare them with the rough punk folk of the Dropkick Murphys enriched with some metal influences, especially in the guitar sound and solos. A cool debut album, even after all those years.
The next Spuds album, It’s A Feckin’ Freakshow, came out in 2015. The sound was getting more melodic, with a big role for Micky’s tin whistle and accordion, but still with a sharp, aggressive metal feel, especially in the guitar sound of Milan and Robin. Songs like Tonight I’m Staying In would not look out of place on a Dropkick Murphys, Toy Dolls or The Real McKenzies CD. Pure upbeat punk folk. But songs like Mary Goes Round or the beautiful ballad The Dying Rebel already showed that The Royal Spuds were becoming more then just a straight forward Punk band. And now we have Unforgotten Lore. It came out just before before the end of last year, and the big question is, did they ramp up the quality even more on their newest mini album?
Listening to the first two songs, Too Old For This and Johnny Jump Up it’s clear not much has changed in the Spuds world. It is party time right from the start. Good quality punk folk, a Bro Hymn kinda sing-along chorus and a stunner of a guitar solo by Milan are more then enough to get things going. The band sounds tighter than ever before and the flute that already had a big role on Feckin’ Freakshow is even more prominent now.

Johnny Jump Up, the second drinking song – nothing changed there too- is an earworm that I can’t seem to get out of my head for days now. Micky’s accordion together with the chorus is so addictive. Another thing you will notice is how much Maarten has grown as a singer. His voice has become warm and powerful with the right amount of sandpaper when he needs it. In early Spud days, he shouted his lyrics out, but nowadays all the power comes out of a big set of lungs and good singing technique. With those two tools he easily matches the energy of the band.
As I said, Johnny Jump Up is a genuine earworm, cool melody, catchy chorus, and a cheerful ska riff make this an instant party song. You also hear the biggest change between the earlier two albums and Unforgotten Lore, the guitar sound. I already mentioned that the guitars on Feckin’ Freakshow still had a metal sound. Sharp heavy distorted riffs filled up the space in between the other instruments. This time Milan and Robin have a much cleaner rock sound. Which gives the other instruments much more room to shine. You can, as an example, now clearly hear the lovely grooving basslines that Dave is playing. A good thing ’cause he is running all over the neck of his bass guitar on Unforgotten Lore. Never knew he was such a funky bass player.
Ok I have to admit, The Spuds did lose a bit of pure aggression in their sound with this change, but gained so much melody and variation in exchange for it that I can wholeheartedly support their decision. Guitarist Milan told me that the band developed the new sound together with their sound technician and Kayāmata singer Loek Stevens, who also is responsible for recording Unforgotten Lore.

The variation the Spuds gained becomes really clear on the album’s sixth song, Tri Martolod. A cover of this traditional from Bretagne made famous by Alain Stivell. The Spuds version starts with a gentle acoustic intro on guitar and flute, but soon it turns into a surprising flute solo break that wouldn’t sound out of place on a old Jethro Tull or Focus album. What a cool solo this is. Micky is really rocking his flute here. The Spuds have some more surprises up their sleeve in Tri Martolod. Breaks, sing-alongs, pace acceleration, they throw everything at you, but the biggest treat is hidden in the end. The reggae acceleration with yet another flute solo finishing the song, is the icing on the cake. What’s happening here???? After hearing this the first time I was convinced by the refreshed Spuds sound. This is brilliant stuff! Rancid, Reel Big Fish, eat your heart out!

Another surprise is A Man. You could call it an acoustic Irish folk meets Western folk rock ballad. Good catchy song. People who like Sunfire will probably like this song too. It has it all, banjo, strong vocals, grooving bass and again that enchanting flute solo from Micky. Next up is Ally In Killarney, a cool straightforward punk song. But, I can’t give any more in depth (pun intended) comments about it or its lyrics to avoid a parental advisory sticker on this review.

The last surprise is also the last song on Unforgotten Lore. A heroic saga like the Swedish metal band Dream Evil would play. The Last Wild Haggis is a pure punk metal powerballad, including another cool guitar solo by Milan. It also has – just as Dream Evil- over the top, totally odd lyrics. Who ever would come up with the idea of Scotsmen hunting wild HAGGIS!!! Well the Royal Spuds would!
Up till now I’ve always seen the Royal Spuds as the angry young brother of Dutch melodic folk punk band Scrum. But young brothers grow up, as did the Royal Spuds. And with Unforgotten Lore they settle themselves right next to Scrum as one of the top bands in the Dutch melodic punk folk scene. Well done.

-Cliff

Editor: Diane
Pictures: Marielle Groot Obbink

Irfan – Roots (2018) review

20 Jan
celtadmin
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Sunday the 25th of November, 14:45 PM, I am on Winter Castlefest, the 2018 edition. As I was getting ready to photograph the next band in ‘The Great Hall’-the name Castlefest has given to the big tent where the games are played and the indoor performances take place- I couldn’t help but notice Sowulo‘s Faber Auroch entering. The next to pass me was Sara (SeeD‘s singer/bouzouki player) and her partner. But I really started raising an eyebrow when some minutes later Brisinga‘s Fabi came by asking if I knew where the Imbue members were sitting. As I started looking around, I was also able to spot Rowan from Heidevolk and members from Sunfire and The Royal Spuds in the audience. All the members of Emian and Waldkauz had found a place in the front rows, as had former AmmA member Hanna van Gorcum and from the corner of my eye I could also see sound magician Fieke van den Hurk. Afterwards I discovered SeeD’s frontman Koen van Egmond and Sowulo’s harp player Chloé Bakker also attended the concert a day earlier. Now the Castlefest scene, as I fondly call the Pagan/fantasy folk scene we are all part of, has always been a really supportive one with bands visiting each other’s concerts and all kinds of collaborations happening on stage and behind the scenes. But even in this supportive scene it is rare for ten(!) bands to be represented at one concert. And that’s exactly what happened as Irfan got ready to play at the Castlefest 2018 Winter Edition. In a way it says all about the status Irfan has within the alternative Pagan folk scene.


Well, the concert was beautiful, mesmerising and captivating from start to finish. With the seating area placed closely around the podium, there was this real connection between the band and the audience. The atmosphere was pure magic, really captivating and Irfan were given a standing ovation at the end of the concert. It goes without saying that I acquired their newest mini-CD Roots straight after to try and hopefully re-experience a bit of that magic again at home. And that is exactly what happened when I put Roots in my CD player.

From the first notes of the opening song Mominstvo Irfan captivates you. They take you into ancient Persian times. You walk with them into the courts of India, you reminisce about the old days of the pharaohs. And it feels like the sharp desert sand brushes over your face while you marvel at the wonders of Petra. In their bio Irfan compare their music with audio-archaeology and I can clearly hear why they say that. Irfan has acquired the ability to fill their music with history. They manage to sound old and modern at the same time. Giving their music a timeless quality that is rare. They did it for the first time on their second album Seraphim. Mostly Seraphim is a mix between classical European music and Eastern European folk, -imagine Cesair meeting up with Loreena McKennitt, with Dead Can Dance or Ofra Haza joining in every now and again to spice things up-, but the song Return to Outremer, had that magical timeless feel to it for the first time. The band perfected this sound on their 2015 album The Eternal Return, making it one of my favourite ‘traditional’ folk CD’s ever. And they are doing it again on Roots. If you are a fan of the band, you can buy the album without reading any further. You won’t be disappointed.

But for those who don’t know the band yet, a short introduction:
Irfan is a Bulgarian band that formed in 2001. From the beginning Ivaylo Petrov (Middle-Eastern lute instruments), Peter Todorov (percussion), Yasen Lararov (traditional flutes and harmonium) and Kalin Yordanov (vocals and percussion) have taken influences of the traditional music from the Balkan, Anatolie, Persia, the Middle East, North Afrika and India. For centuries the Balkan have been the portal between the Medieval and Byzantine world on one side and the Ottoman world and Middle Eastern world on the other. Influences and heritage from all these areas with their ancient civilizations find a beautiful marriage in Irfan’s sound. Up till now Irfan have recorded three albums: Irfan (2003), Seraphim (2007) and The Eternal Return (2015).

The basis of the Irfan sound nowadays is the warm electronic string and choir carpet they lay. On top of that comes the deep, warm, hypnotic male voice from Kalin, the beautiful melody lines from the harmonium and wind instruments, the upbeat percussion from Peter and Kalin. Although most Irfan songs are slow balladesque songs, the percussion gives them a real upbeat character. The icing on the cake are then the beautiful female lead vocal lines. On their first albums, Irfan featured Denitza Seraphim as the lead female vocalist. On Roots Darina Zlatkova takes over that role. For the fans that will not be seen as a major difference, both singers are equally talented. You could argue that Denitza’s voice is a touch warmer in tone, that’s all.

Irfan’s previous album The Eternal Return was a lovely blend from all their influences. Taking us all over ancient Europe, North America and the Middle East. Their sound on The Eternal Return could be compared with Dead Can Dance meets Loreena McKennitt in her Mediterranean Odyssey period. On a song like In The Gardens Of Armida you can even hear a touch of Clannad in the vocals.
Roots is a touch different, not only is it the first album recorded with Darina, it is also the first album where the songs are not written by the band. They are all based on traditional Bulgarian songs, arranged by either Ivaylo Petrov, Darina Zlatkova or Yasen Lazarov. I can’t tell if it is Darina’s tone of voice or the concept behind the album, but Roots sounds a touch more intimate then on The Eternal Return. As if the band comes home again on this album, after the many faraway places they sang about on The Eternal Return.

It’s actually amazing how little the band needs to build up a beautiful song. A touch of keyboard, some strings, a tap on the drums and Darina’s warm voice and see, the goose bumps are already there. Build up like that Momphinstvo is not only a beautiful intro into More, Ta Nali, but also into the whole CD. More, Ta Nali is one of the more up-tempo songs on roots. Uplifting percussion, mesmerising flute melodies and again Darina’s wonderful warm voice. I just love, how in Middle-Eastern cultures the voice is more than a carrier of words, it is an instrument in itself. With the surprise percussion break in the middle More, Ta Nali is easily my favourite song on Roots. The single Rusa is equally beautiful. This ballad really features Darina’s voice. One of the members of Seed, Sara, lovingly put it to words on Darina’s Facebook page: “I think Roots is the perfect way of introducing you to the people who haven’t seen you perform with the band yet. What you can do with your voice is amazing, and hearing Rusa for the first time made me cry a little”. There isn’t anything more I can add to that well-deserved compliment.

One of the key elements of the Irfan sound is how subtle the music is, minimalistic almost. On Dyulber Yana for instance the song doesn’t actually start, it slowly evolves from a single note to a beautiful song. Solos are also not clearly ‘started’, they appear in the music, the melody lines just slide into a solo piece and they slide out again just as easily. Yasen places some really nice harmonium melodies in it, quite catchy actually, and it is surprising how this ballad picks up speed in the end.

Emeriga is -in the Irfan world- a fast dance song. Driving percussion, doubled vocals, cool string instrument, and the wonderful low ‘hoarse’ flute solo, all together make for a really powerful energetic song. A real crowd-pleaser amongst the dancers during live shows, I’m sure of it, and also one of my favourites on the album.
Lyube Le is already the last song on Roots. Sadly, because I would have loved to hear one or two more songs, Roots is that beautiful. Anyway, Lyube Le is another stunning song. A beautiful intro featuring Ivaylo on lute and -she has been mentioned before- the wonderful Darina. The tender duet between Yasen and Ivaylo also can’t go unnoticed. On this song Irfan leaves the homely feel and drifts of to the ancient world again. Back into the magical music world they so beautifully created.

To sum it all up, Roots is a beautiful addition to your Irfan collection or a stunning gateway into the musical world of this wonderful Bulgarian band. Either way if you love the music of Dead Can Dance, Cesair and Loreena McKennitt, then this is a must-have CD. 10 out of 10 if we were giving points.

– Cliff

Editor: Diane
Pictures: taken at Winter Castlefest by Cliff de Booy Photography

Sowulo – Sol (2016)

18 Dec
celtadmin
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When I started as a reviewer for CeltCast in the autumn of 2017, I wrote several reviews in one go. Most of them are published, but two were put on the shelf for later use. As is common with stuff on shelves, they were forgotten, collecting dust in a dark corner of my laptop. Now, with Sowulo already recording their third album, I dug the review of Sol up again. We finally focus our attention to Sowulo’s second album, and everything which happened before that, because you can’t introduce Sol without mentioning their first CD Alvenrad. So we start the story with that album, taking us all the way back to 2010.
In 2010 Faber Horbach started developing the concept of what would become Sowulo – a project named after the Germanic rune for the Sun – and started composing the music for what would become the Alvenrad album. An album Sowulo described back then as ambient folk music inspired by Germanic mythology. The name Alvenrad came from the Germanic name for the sun and the album was a celebration of the pagan year festivals. Nowadays Sowulo refers to this CD as ritual music.The album came out in 2012 and the band members were, besides Faber Horbach on piano and chant, Klaartje van Zwoll on violin and chant, Koen van Egmond (SeeD) on flute and Tom Latten on percussion. The recordings were done by Fieke van den Hurk.

Looking back at this period Faber Horbach explains: ‘I did indeed compose Alvenrad all by myself.The concept of Alvenrad was the sun, the four seasons and the pagan festivals that go with it. The subtitle of the CD was: celebrating our great pagan legacy. The whole idea was born out of my own wish to be able to play appropriate music to the specific pagan festivals we celebrate nowadays. The music on Alvenrad is therefore dedicated to those yearly festivals and the wheel of life, the way nature evolves during a year, because these are universal themes within paganism. I didn’t restrict myself to a Germanic or Celtic view on those festivals. We don’t exactly know how they were celebrated anyway. Instead I let myself be influenced by the different ‘feel’ of those festivals and tried to express that in my compositions.
Funny story is, when I started recording Alvenrad at Fieke van den Hurk’s Orchus studio – the predecessor of the Dearworld studio – I had just gotten all the musicians that I needed together. In the studio I worked with all of them on their parts separately. It was only after recording Alvenrad that they all came together for the first time to shake hands. In that meeting the idea was born to try and play the music live. That’s how Sowulo as a band came together.’

As Faber explained Alvenrad is a concept album themed around the neopagan festivals. The CD is divided into four sections; winter, spring, summer and autumn, ending with the song Winter Solstice to complete the circle again. Every section starts with a sound sample setting the season. Be it footsteps in the snow, the crickets in the full summer sun or the thunder of an autumn storm. In between there are eight songs representing all the pagan festivals, Yule, Imbolc, Ostara, Beltane, Litha, Lammas, Mabon and Samhain. Although they are all separate songs, I cannot listen to them as such. In my eyes Alvenrad is a paganfolk / classical symphony with a continuous flow. Every piece has its time and place within the whole composition.
Yule and Imbolc start the CD of in a classical style, the piano setting the tone of the music, with the violin and the wind instruments weaving in their melodies. It’s the percussion and the chants that stops you from seeing this as pure modern classical music. That balance between the two is maintained throughout the album, although the ritual folk influences get stronger and stronger as Alvenrad continues, building up to the beautiful climax of Lammas and the darker but equally beautiful Mabon.
It was with this CD that I fell in love with Fieke‘s recording talents. Just as with Cesair‘s Dies, Nox Et Omnia she gave Alvenrad a powerful damatic orchestral sound that fits so well with the music and the idea behind the album. If you love classical music and instrumental ritual pagan folk This is a CD you want to have in your collection.

Fast forward 4 years. Pan Bartkowiak became the new percussionist and Celtic harp player Chloe Bakker also joined the band. In this configuration Sowulo recorded their second album Sol. A CD with 7 new compositions and 6 that we know from Alvenrad, the songs Beltane, Ostara, Imbolc, Yule, Mabon and Lammas. So the big question beforehand was, is Sol a pimped up mini CD. Well the answer is a definitive no. Opening track Noodlot (fate) picks up where Alvenrad stopped. It is a slow, classically influenced duet between flute and violin, with percussion and choir giving it that ritual pagan feel again. Ginnungagap, the second song, starts in a similar way, introducing Chloé on harp, but it’s Koen van Egmond who is the star in this song. His beautiful flute melodies just dance through the music, absolutely beautiful, especially when Klaartjes viola joins him for a musical pas de deux. One of the highlights on Sol.
It took till the third song, Skoll, for me to finally realise what the big difference between Alvenrad and Sol is. The lack of piano. Faber changed his piano for the bouzouki, the hammered dulcimer and the nyckelharpa, wich gives a totally different, much opener sound. Skoll even has some Eastern European, Irfanesque moments in it. Songs like Beltane, Lammas or Mabon, that sounded really dramatic on Alvenrad, now have a more cheerful, springlike bounce to the music, while keeping the spiritual message.
Listening to the rearranged songs it becomes clear Sowulo wants us to celebrate those ancient festivals, dance on them. Whereas on Alvenrad we were invited to join in the sacred circle, hand in hand, closed eyes, with the druids leading us in chant through the greatness that is life.
The band themselves describe Sol as: ‘Much more energetic than the first album.’ and I totally agree. Asking Faber about this he replied: ‘With the re-recording of some of songs on Sol we did change the tempo and even the key they were played in. Some parts have been rewritten and parts have been added as well. The idea was to make it sound less melancholic, more happy, free and dynamic. A bit more ‘grounded’ in a way. For me it’s important that people know that, although the music on both CDs is inspired by the pagan traditions of the old Northern European cultures, it is music meant for the ‘now’! It is music made for modern people who feel inspired by those old traditions.’

The last two songs on Sol: Arvakr and Alsvidr clearly have a different feel than the rest of the album. They are Swedish dancesongs featuring, besides Koen on flute and Pan on percussion, the nyckelharpa, giving Sowulo’s music a whole new dimension, more towards Oliver S Tyr’s project Kaunan. Will this be the direction Sowulo is gonna take on the next album? Only time will tell.

A year after writing this review I’m still in love with both CD’s. Which one I prefer mostly depends on the mood I am in. On a sunny day when I want to celebrate life, I turn to the more cheerful ‘pagan folk meets chamber music’ album Sol. On that cold winter morning, when I want to sit, be carried away and re-energized, I put on the more classical, ritual music of Alvenrad. Either way, both are well worth adding to your collection.

-Cliff

-editor Diane
-pictures taken at Castlefest, winter 2016 and Summer 2018, by Cliff de Booy photography

Meidi Goh – Heartstrings (2018)

11 Nov
celtadmin
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The autumn queen came home again,
she flew with geese by starlight.
Acorn and chestnut called her name,
as did rain and flame and twilight.

This is part of the poem The Autumn Queen which opens Meidi Goh‘s first solo EP Heartstrings. Meidi wrote the poem herself and to her it is a portal into her work, her music. After some years studying classical and baroque violin, Meidi started playing with the baroque ensemble Kolibrie. After that she joined the Dutch jazzy folk band AmmA. The last year Meidi devided her attention between the Dutch historic folk band Imbue and her first solo album.
“After many years in bands I wanted to share my own musical ideas and my own personal stories.” Meidi told me: “This is how Heartstrings was born. I wanted to make music that was a bridge between Elisabethan baroque music and folk. I wanted it to have as pure a sound as possible. I wanted the listener to hear every stroke of the bow over the strings we played. I also wanted the music and my voice to sound as honest as possible. With my perfections but also imperfections, everything as pure as possible. The lyrics straight from my heart, hence the title Heartstrings.” Well I can tell you, she absolutely achieved that.
Heartstrings contains 7 tracks, one poem, one traditional, two covers and 3 original compositions written by herself.
Lovelorn is the first of Meidi’s own compositions and it’s a beautiful ballad. It is, obviously, a love song, a bit melancholic in text and music as most of the songs on Heartstrings. It tells about a love that is not to be. The string section in this song is already lovely, but what really jumps out are the voices. Meidi has a wonderful skilled soprano. When she goes into the heights of her voice she hits the notes perfectly in what I would call ‘classic’ soprano style, but in the lower regions she returns to her ‘normal’ voice, giving the song so much more personality. Her voice has this youthful fragility and purity that make the hairs stand up. So beautiful. From the beginning I had to think of some of the top young boy sopranos, hearing her voice. And I mean that in the most complimentary of ways.
Everybody who has seen the musical Oliver Twist for instance, will remember young Oliver singing Who Will Buy This Beautiful Morning. There is this youthful innocence when he sings that song, one we all know will disappear when he gets older that makes it so touching. Somehow Meidi managed to keep that young and pure quality in her voice, although she is an accomplished singer. And somehow Jacco de Wijs-van Gorcum has managed to capture that while recording the vocals. Of course we know him as one of the frontmen of the Dutch folk metalband Heidevolk, but here he proves he is just as talented behind the mixer. Especially in the chorus, where Hanna van Gorcum joins Meidi in a call and answer that is as pure as crystal. Stunning.

After I asked Meidi about her singing style, she explained more about it:’ When I was young I grew up with ‘old’ music. Music from the renaissance and baroque era. One of the stand out features of these periods is the different use of vibrato in the music and in the singing. A lot milder and totally different in intensity from how we use it today. In those days people were more interested in purity of sound. And indeed that is just how the boy sopranos sing. That style actually originates from this early period. the heavier use of vibrato started to appear in the 18th century, with the first operas from the classical time period which followed the baroque, and even more so in the romantic period. Hanna van Gorcum is much more classically trained. You could call my voice an ‘old’ or baroque music voice.’

Jacco is not the only talented musician involved in Heartstrings. I already mentioned Hanna van Gorcum (TDW & Dreamwalker inc, former AmmA) on voice and nyckelharpa. There is also Coca Román (Kelten Zonder Grenzen, Violet) on harp, Hester de Boer (Violet) on cello and quinton, -a 5 stringed violin that was build and played between early 18th century and the French revolution, you could call it a viola and a violin in one instrument-, and Imbue colleague Tim Elfring on davul. All but Tim join Meidi on the next song, Waltz For The Little Mermaid, written and partly arranged by Meidi. The other musicians where all given room to arrange their own parts on this song, giving them all a chance to shine.
Meidi insisted that all the songs would be recorded as an ensemble, in one take, keeping with the pure natural feel that she was after, only the vocals were recorded separately. And I can only say, it worked. The songs just sparkle. Jacco did wonders catching it all on tape, and after that, mixing engineer Fieke van den Hurk and mastering engineer Sander van der Heide made the most of all the quality that they were given.

My favourite track on Heartstrings is another original composition, Foxskin. Balfolk people will love this song, I’m sure of it. This cheerful fun song brings together all the elements that define Meidi Goh’s classical folk style. It’s the perfect blend between the baroque music that she started out with and the English folk she fell in love with later on in her musical career. English because of the pronunciation of the lyrics. It is as if Loreena McKennitt and Johann Sebastian Bach did a baroque minuet / folk CD together. Sounds odd? Maybe but believe me it so makes sense when you hear the songs. The two worlds just blend naturally together in Meidi’s compositions. The song itself is about a young lady who, at night, turns into a fox to dance with the elves and other magical creatures in the dark woods

My Love Came To Dublin is the first cover I want to mention. It’s a song originally co-written and recorded by June Tabor. And it fits perfectly within Meidi’s own songs. I once called Gwendolyn Snowdon a storyteller, well Meidi is a poet. And her songs are poetry in music form. The Lyrics of My Love came To Dublin fit right in, with that slight old English feel. It’s a melancholic song full of longing for an absent lover. The deep sound of the seven stringed bass viol enhances that sad autumn feel and is a lovely contrast to Meidi’s angelic voice. Coca’s harp then enhances the purity of it. Again a lovely song. Recorded and mixed so well.

Konungen Och Trollkvinnan, is another cover. It was originally recorded by the Finnish folkband Gjallarhorn. As Gjallarhorn hail from the only part of Finland where Swedish is the main language Trollkvinnan is a Swedish song, based around the sound of violin and nyckelharpa, this in contrast to the other songs on Heartstrings. This reminds me more of Kaunan ‘s music or that of the Swiss duo Knep on Bestioles. A CD I reviewed a few months ago.

The last song on Heartstrings is a traditional that goes by the name, Once I Had A Sweetheart. Hanna starts this song with a lovely nyckelharpa solo. And Meidi once again pours out her melancholic heart on the low tones of her bass viol. She sometimes affectionately calls her bass viol ‘my muse’. This Viola da gamba -the Dutch name for it- was specially made for Meidi’s mother many years ago. -Meidi herself even drew the design of the head- and her mother asked Meidi:’You will play her after I’m gone won’t you? And needless to say Meidi did just that to this very day.
This is a mini CD that will appeal to open minded classical people as much as it will people that enjoy the lovely folk ballads of bands like AmmA, Anuna, and Rosemary & Garlic or the more traditional songs from Loreena McKennitt, Altan and the German band Cara, (whose new live CD I’ll be reviewing later this year) . Don’t expect fast dancing songs on Heartstrings, they are all slow to mid tempo ballads. But there are some nice balfolk dances on it. Trollkvinnan can be used for a Swedish halling, Waltz For The Little Mermaid off course is a waltz, My Love Came To Dublin is a muzarka and the most complicated one is Foxskin, this song combines a scottish with a waltz.

Meidi, together with all the talented friends that she invited to help her, has made a wonderful CD, that she can be really proud of. I have only one complaint with it. For such beautiful music, it ends way too soon. So here’s hoping that the next album will come soon, and that it will be a full length one. ‘Till then Heartstrings shall make many a turn more in my CD player.



Cliff

Editor: Diane

Picture credit:
– CD sleeve picture by Alexander Holwerda
– CD artwork by Meidi Goh
– studio photo by Meidi Goh
– live pictures by Cliff de Booy








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