Gwendolyn Snowdon – Three Strand Braid (2018)


The first two sentences I wrote while listening to Three Strand Braid for the first time were: ‘The music feels like a warm soothing blanket.’ and ‘She is an amazing storyteller!’. Now that I’ve spent about a week listening to Gwendolyn Snowdon‘s first solo album, I know those lines sum up this whole album quite nicely.

‘Wait a minute.’ I hear you ask ‘Did I just hear you say storyteller?’

Yes. Although we are talking about a Folk album, I am sure I have been listening to a book filled with small stories. It has taken me overseas, it told me stories of lovers lost, It told me tales of ‘naughty girls’ and men young at heart, it gave me moments of laughter (you just have to listen to the lyrics in Little Duke Arthur’s Nurse) and a tear of melancholy. Twelve stories found a place on Three Strand Braid. Four English songs, four Dutch and four Irish. I will explain why that is after I introduce Gwendolyn a bit more.

Gwendolyn Snowdon was born in 1980 in Haarlem, the Netherlands. At the age of 10 she started learning guitar, soon followed by vocal lessons. Nowadays she plays bouzouki, Indian harmonium, bodhran and guitar , but her main ‘instrument’ is her beautiful voice. The first band she joined was called The Dutch Lemmings, a Celtic Folk band, inspired by traditional Folk music ánd the energy of the, then quite new, fantasy folk scene. (you can see a photo of them playing at the Midwinter Fair in 2012 on the right)
At the moment Gwendolyn is one of the main vocalists of the Celtic Folk band Finvarra. With this band being a bit less active and Gwendolyn having a bit more time on her hands, the idea grew to record a first solo album. One person to encourage her was Omnia frontman Steve ´Sic´ Evans-van Harten. Two and a half years ago Gwendolyn started collecting songs she loved for her album. With her father being Dutch and her mother being half English/half Irish, she had the idea to explore her own roots through music and that is how the concept for Three Strand Braid was born. Four English songs, four Dutch and four Irish, braided together to form one Folk CD. You can see that concept come back in the cover art of the album as well. A lovely painting made by Lisa Falzon.

During the recording of Three Strand Braid she worked closely with sound engineer and producer David Groeneveld. He was also responsible for the recording and production of Finvarra’s first CD. Finvarra bandmates Patrick Broekema and Corné van Woerdekom were quite willing to help out with guitar, tin whistle, mandolin and violin parts. Other musical friends to help out were Kelten zonder Grenzen / Datura / Ball Noir‘s hurdy-gurdy player Lies Sommer, Perkelt‘s recorder player Paya Lehane, David’s brother Melchior Groeneveld on guitar and of course former The Dutch Lemmings member and long time ‘partner in crime’ Coca Román (now Kelten zonder Grenzen) on harp.

The first song on Three Strand Braid really sets the mood. It is a beautiful interpretation of Sandy Denny´s The North Star Grassman and the Ravens. Sandy Denny is the late singer of the English 70’s folk band Fairport Convention. Gwendolyn tells in the informative booklet that she adores Sandy’s music. She thinks this is one of Sandy’s most beautiful songs. While researching The North Star Grassman and the Ravens on the internet I found a moving version of it on YouTube with Sandy Denny herself on piano. I don’t know íf Gwendolyn and David saw this specific performance, but if they did, it could well have been the starting point for their version. It starts really small with David accompanying Gwendolyn on piano. The warm blanket I mentioned at the start. But it builds up to a powerful ballad with violin, drums, strong backing vocals and of course Gwendolyn’s own voice in all it’s glory. A wonderful tribute to her musical hero.

The second song is a Dutch one called Te Haarlem in den Houte. It’s a medieval song that tells the story of a boy who wants to spend the night with a ‘naughty girl’. Gwendolyn introduces her first guest soloist: Datura / Kelten zonder grenzen / Bal Noir‘s Lies Sommer on hurdy-gurdy. The start is definitely medieval. The clean classical vocals, the drum rhythm, the hurdy-gurdy sound of Lies are all things I know well from the Dutch medieval band Datura. But as the song builds up it suddenly goes Celtic. Especially the hurdy-gurdy solo pulls it right into the Celtic Folk sound. Nolwenn Leroy‘s version of Tri Martolod comes to my mind while listening. Indeed a braid of two strands in one song.

Logically the third song then has to be Irish. Gwendolyn picked another musical hero of hers: Irish Folk singer Christy Moore. From his huge repertoire she choose I wish I was in England, an up-tempo ballad about a love found and lost again. Gwendolyn and David kept this as a pure Celtic Folk song driven by a catchy mandolin melody played by Finvarra’s Patrick Broekema. You just can not get it out of your head after you heard it. For a short moment the name Amy MacDonald flashes by when I hear the guitar intro, but that soon passes. Gwendolyn has her own singing style. A style that comes closest to Sandy Denny. With that addictive mandolin hook this is a fun, cheerful song with a melancholic story. Pure folk.

Johnny Rau is a song by the Dutch band Törf, sung in local dialect. It’s followed by Little Duke Arthur’s Nurse. This traditional, originally recorded by English 50’s/60’s Folk singer Frankie Armstrong, tells about a young man who wanted to get ‘naughty’ with a nurse… and what then happened that night. A medieval story at it’s best.
By now it’s clear that Gwendolyn is a storyteller. The songs that she selected have two things in common. They had to have a beautiful composition… and a good story to tell. Needless to say that Gwendolyn is a good storyteller. And she has a wonderful partner in producer David Groeneveld. With his Pop music background he manages to give every song that something special it needs to get the story across. This particular song starts with a keyboard intro as Clannad or Enya could play it. You feel the mist flow over the English hillside, while young Johnny is travelling out on this fair May morning. But where Clannad would keep this mystical sound going, David pulls the sound right back to the pure singer/songwriter Folk that is the core of this album. Adding splashes of backing vocals left and right to keep the music fun and interesting.

Lovely on the Water and Willow’s Song are two more beautiful ballads. Willow’s Song has a wonderful, almost creepy violin rhythm in there, that reminds me a wee bit of how Kate Bush uses it in her music. The original song is part of the soundtrack of the British horror movie the Wickerman. Gwendolyn and David, in their arrangement, managed to give the music an eerie, ghostly feel. Gwendolyn’s versatile voice easily flows into a eerie melody line as well. Her voice here is a mix of Gwendolyn herself (she just has her own style that is instantly recognisable) and Loreena McKennitt. My personal favourite on the album.

One day before the official CD release, Gwendolyn was the guest in a CeltCast ‘Living room session‘. Hearing her talk about how important the friendships she made are to her, it was obvious there couldn’t be a first solo album without the help of Coca Román. And here she is on De Harpspeelster. Gwendolyn found this song in an old Dutch songbook and Coca composed a beautiful harp tune to accompany it. The harp melody sounds a wee bit Eastern, especially with the choir coming in at the end. Gwendolyn’s music really manages to trigger my imagination. Here it is making me drift into a Chinese landscape, on a hill with golden rice fields below me in the sunset as the music fades out. (Although it being a Dutch song, it should probably have been a Sawa in Indonesia.) But not for long. Clean guitar chords pull me right back to the bright green fields of Eire.

Quiet Land of Erin is a song full of longing, the longing of the Irish people abroad for their homeland, the emerald green Isle of Erin. Gwendolyn is at her very best in this former CeltCast ‘Monthly Marker’. You feel the longing, the sadness and melancholy of this story. Again, David Groeneveld surrounds her voice with just the right sound. Clannad meets Gwendolyn Snowdon. Another firm favourite on the album.

On The Next Market Day the last of Gwendolyn’s guests appear. Perkelt’s Paya Lehane plays the beautiful lead melody and solo on recorder, a type of flute. The song itself is a medieval love story. In most versions it ends with a marriage, but Gwendolyn leaves it with an open end. The arrangement itself reminds me of Omnia’s version of The Well. Especially with the solo that Paya composed. A beautiful magical tune that would capture any traveller’s heart.

The Parting Glass is a fitting end to Three Strands Braid. Gwendolyn, with the help of her friends, has made a beautiful CD. Well rooted in the Celtic Folk traditions, but with the surprising Dutch songs, the Pop influences of David Groeneveld and the cool variation in song choice on the whole, it also is a really fresh album that keeps on giving. Having said that, what makes this CD really stand out in the crowd is Gwendolyn Snowdon herself. Her voice is amazing and she has the skills to use it to its full potential. Sometimes it´s crystal clear, like a modern Joan Baez, sometimes eerie and mystical like a Dutch Loreena McKennitt. But most of the time she uses that melodic Irish accent as a female Christy Moore. I know I compare Gwendolyn with some big names here, but I really feel her voice has that quality. But, the biggest compliment I can give Gwendolyn is that she sounds like herself! All the names mentioned in this review are pure references to help explain the music. In the end Three Strand Braid is a 100% pure Gwendolyn Snowdon. And I love it!!!!

– Cliff


Fotocredits:

– Picture of ‘The Dutch Lemmings’ during the 2012 Midwinter Fair and
– Pictures taken during the ‘Calling in Spring’ festival 2018 courtesy of Kees Stravers

– Gwendolyn Snowdon promotional picture courtesy of Wen Versteeg Fotografie


KNEP – Bestioles (2016)


Two talented young musicians, one playing nyckelharpa, the other guitar. Sometimes it doesn’t take more than that to make a beautiful album. The Swiss duo Emilie Waldken and Pascal Rüegger, together known as KNEP, did just that and we at CeltCast are more than happy to introduce their music!

Emilie Waldken studied classical violin, after which she was introduced to the nyckelharpa and Scandinavian music and it was love at first sight. In her own words; ‘the discovery of the nyckelharpa was key in my life.’ She eventually went to Sweden to study Swedish folk music on the Eric Sahlström institutet.

Besides KNEP she plays in the medieval/fantasy band Skoga Obscura which she founded. She also does a lot of solo performances and teaches.

Pascal Rüegger studied music on the Zürcher hochschule der kunste in Zurich. He also went to Sweden to study Scandinavian folk, although his focus was more on dance. He now gives workshops in traditional Nordic- and Balfolk dances. He is also busy with quite a few jazz- and theatre projects.

Together Emilie and Pascal form the duo KNEP. Their first album Bestioles came out on the 13th of February 2016. When asked how KNEP was formed Emilie said: “It was a bit before heading to Sweden that Pascal and I met during a Balfolk ball. First we jammed, slowly a common repertoire was created and one day we stepped on stage and KNEP was born. So our duo is really a classical violinist having a passion for Scandinavian folk fiddling and nyckelharpa who met a jazz guitar and bass player and them ending up together! We like to stick to the Scandinavian style, using the tradition we both studied as much as possible.”

(The complete interview we did with KNEP can be found here)

With both Emily Waldken and Pascal Rüegger loving Swedish folk-, Balfolk-, classical- and jazz music, it’s no surprise that KNEP’s sound is indeed a blend between Swedish Traditional music, Balfolk and classical chamber music with a splash of jazz.

On Bestioles you’ll find 11 lovely folk songs. Introducing us to different types of Scandiavian traditional music and some balfolk too. Five of the songs are Polska’s, one is a Circassien Circle. There is a Waltz, a Scottish and two Mazurka’s. Five songs are traditionals, Pascal wrote four and Emilie has five to her name. For the fast mathematicians, yes that adds up to more then eleven, but some songs are actually two tunes blended together. Something you will surely notice reading the song-titles. All arrangements are by Emilie and Pascal. The latter is also responsible for recording Bestioles.

The first song MCP + La verte shows all the duo’s strong points. It starts with a jazzy rhythm played by Pascal on guitar and he is soon accompanied by Emilie’s nyckelharpa. Although the first time I heared the music I mistakenly thought it was played with a octavharpa. Not true Emilie told me. Her nyckelharpa has a 4-row keyboard, which explains the deep almost cello like sound on this (and other) songs. As the nyckelharpa’s melody on MCP + La verte is in the range of a cello, you would expect these two combined compositions by Pascal to be melancholic, but they are not. It’s actually a cheerfully played Polska, especially the second part La verte.

The second song Chévrefeuille (French for Honeysuckle) is a composition by Emilie. This song is still evolving when they play it live with Emilie adding new parts to it on a regular basis. Again, a nice cheerful song, with Pascal on low whistle. The composition has a lot of variations on the main theme and changes in tempo, keeping it interesting until the last note.

Polska från Dorothea starts with a lovely nyckelharpa intro from Emilie, with Pascal´s guitar joining in. Both instruments blend into a beautiful, gentle piece of music. By now it’s clear that both Emilie and Pascal are excellent musicians. Although all songs are instrumental, you don´t miss vocals. As is to be expected from well composed classical music, the instruments themselves are the voices. In the artwork Knep tells that this Polska has been among their favourites for a long time. It could well be my favourite too.



Celle-ci is a Mazurka. It´s also a solo piece for guitar and it´s beautiful, starting real small, delicate and tender. The song shows how beautiful classical acoustic guitar can be, when played by a skilled musician. Another personal favourite of mine.

The uptempo Le Troll du Chateau de Joux + The Gallowglass brings us to another Balfolk dance classic. The Circassien Circle dance. At this point I noticed another strong point of the CD. Its variation. I am taken from dance tunes to delicate solos. One moment the guitar will lead the way, the next song the nyckelharpa takes center stage. From open chords to rhythm, from Polska’s to a Waltz, the songs are never the same. I really have to compliment KNEP on the song choice and the placement of them on the album. It is so well balanced, so well thought out that it keeps being interesting.

Not all songs are Swedish folk inspired. Suka-fiol is a Waltz Emilie wrote when she heard about the Suka, a special fiddle from Poland. Maybe it sounds Polish, maybe not, but it’s definitely a nice Balfolk song.

Eikelandsosen is a solo piece for nyckelharpa. And here I have to compliment Pascal on his recording skills. The whole album is recorded with minimal usage of effects, giving it a direct, pure and honest sound. In this song it works so well. You can really hear all the ‘clicks’ of the nickelharpa keys being touched. If you close your eyes you can just imagine Emilie sitting next to you, playing you this wonderful instrument.

The last song I want to mention is L’autre Route, a delicate duet between guitar and nyckelharpa. A worthy end to this beautiful album. Bestioles nicely fills in the gap between Balfolk, as played by the likes of Finvarra, and Baroque style chamber music. It’s not an album that will make you jump and run through your house dancing. It’s an album you want to play to calm down and forget the stress of the day. It leaves you feeling positive and relaxed. A great value nowadays.

– Cliff


– Concert photo’s courtesy of Kees Stravers.
– Band portrait courtesy of Knep.


Cesair – Omphalos (2017)



Cesair is a six-person band that blends Classical together with Pop (World) music, giving it a nice Eastern-European feel as they go along. Together, this makes for a unique sounding band. Cesair themselves describe their sound as ‘Epic Folk and Mythic music´. I would say Carl Orf meets Vivaldi meets Rastaban meets Faun equals Cesair. They are one of the few bands that really manage to marry Classical skills with Pop music and get away with it.

With Dies, Nox et Omnia Fieke, as a producer, recorder, editor and mixer, gave Cesair a real powerful sound. Just as Carl Orf‘s Carmina Burana blows you away with the bold sounds of a big orchestra playing at full strength, Cesair managed to do the same. The accordion and hurdy-gurdy themselves are already instruments that can fill a room and Fieke made good use of the surround sound to give the whole band a overpowering impact. Hearing the main instruments in front of you, but nice bouzouki and violin accents coming from all sides. Just listen to Cansa and you’ll hear the violin playing in the corner of your ear. Or Graeica where Thomas’ bouzouki is placed in the same way that gave Dies, Nox et Omnia a really big orchestral sound.

As most of you will know, Fieke van den Hurk left the band last year to focus on her career as a producer and sound engineer at her Dearworld studio. The band was extended with new, but well-experienced band-members Luka Aubri (Rastaban) and Faber Auroch (Sowulo). With this change, there was no way around it… the big question with Cesair‘s second album was: “How would they sound with their new line-up?”. The pre-CD-release concert at Castlefest 2017 sounded very promising. Visually the band was as entertaining as ever. During the concert there was even that bit of ‘Fieke magic’, with her standing in the audience and singer Monique van Deursen and Violinist Sophie Zaaijer goofing with her from off the stage.

But what about the album? Well, Fieke is still part of the band on Omphalos!

Although saying her formal goodbyes to the audience on stage in March of 2017, with a wonderful concert in the Peppel in Zeist, the band decided Fieke was so involved writing the Omphalos songs that she still deserved to be named as a band-member in the credits, next to new members Luka and Faber.

Therefore she says her official goodbyes to us, the fans, with the album Omphalos. A fitting and touching tribute to Fieke from the band, showing how beautiful a friendship in music can be.

Onto Omphalos.

With this album the band went a different route. This time the mix is more open. Fieke, also producing, recording and mixing this album, plays with the volume in stead of putting up this impressive wall of sound. Listening you can discover little pearls. Lead soloists are pushed forward and supporting instruments are less pronounced in the mix, leading your ear through the music. New band-members Luka and Faber fit well within the music.

Fieke took on a more supporting role which made room for my personal highlight on Omphalos: the string section. Both Sophie and Faber play wonderful string melodies. Their solos and melody lines really take the lead role together with Monique’s voice. While Dies, Nox et Omnia focuses on the band as a unit, with Omphalos the talents of each individual musician comes out. And they are talented! Monique has a wonderfully pure and powerful, classically trained voice with an impressive range. One of the strong-points of Cesair. In this more open sound Thomas Biesmeijer really gets the chance to colour the music with his guitar and bouzouki chords. This new sound also means Jan de Vries can shine more as a percussionist. His drums don’t disappear in the overall sound, but are a main feature. Just listen to him drive to music on Troll Kala Mik.

With Dies, Nox et Omnia Cesair took us on a journey through classic texts and history. Quoting and interpreting passages of Babylonian, medieval Dutch, 7th century Greek and 16th century Spanish texts to name a few.

On Omphalos, Monique takes us with her on a similar journey through old and modern literature. The inspiration while writing this album came from the Roman poet Quintus Horatius Flaccus (a.k.a. Horace), the Spanish poet Federico García Lorca, the Romanian poet George Coșbuc, some anonymous sources and the poetic Edda, an anonymous collection of Icelandic medieval poems.

As always I don’t want to go through all the songs on the CD. It’s way more fun to discover the music yourself without me spoiling everything. But still, here are some I really wanted to high-light.

Erda, the first track of the album: a first class earworm. Straight away, the more open sound of this album works it’s magic. Monique and Sophie shine in this song. As said, Monique is such a skilled mezzo-soprano, she impresses throughout the whole album, as does Sophie. Hearing her taking the lead solo so clearly and often, I suddenly realise how amazing she is as a violinist. Stunning. In all, if you listen to Erda and like it, you can safely buy the whole album. The song is a perfect representation of Cesair anno 2017.

Many of you will already know Chorihani from various concerts: a cheerful, fast song with, again, a beautiful solo from Sophie, this time straight from a gipsy party it seems. Good old Fieke and her accordion make it even more Eastern-European.

Troll Kala Mik we also know from the Cesair concerts. It´s a duet (or is it a duel?) between the beautiful poet Monique and the ugly troll Thomas. Pick your own favourite, but mine would be… …Jan. His percussion work is the foundation of this song. You could even say he plays the lead instrument on this.

Another duet is Ahes. It’s Cesair’s interpretation of a medieval love story from Brittany. It tells of a forbidden love between princess Ahes (a.k.a. Dahut) and a lover she invited in, before being married. A great sin in medieval times. Of course the whole city was punished and swallowed by the sea, as would happen in old times. Faun‘s Stephan Groth takes on the role of the lover from the ocean, who persuades Ahes to open the gates of her city. A guest appearance to look forward to should Faun and Cesair play the same MPS festivals the coming season.


Mardochaios is the Greek name for the Mesopotamian god Marduk. The song is an anthem for him, again driven by the powerful drums of Jan, followed by some beautiful violin melodies and vocals. My personal favourite song of the album.

Yet another song that has an interesting musical feel is Boudicca. The intro with the strong, almost threatening, male/female vocals make it sound like an menacing Enya or Clannad on their very best days. Sophie´s violin solo pulls you straight back into the Cesair world but the song keeps that eerie feel to it… A real tribute to the lady who dared to defy the Romans.



As i said, I could name all the songs because they all are equally good. Omphalos is an album that you need to get if you love an impressive mix of classical and folk/world music. It’s an album that will mesmerize you, make you want to play it again and again. One piece of advice: play it loud and get the whole impact of the album. It’s going to be worth it. At full volume is where the true beauty of Omphalos appears in all its glory… or live on stage of course!!



– Cliff


– Pictures 1, 3, 4 and 7 taken at Castlefest 2017 and picture 2 taken at the Gothic & Fantasy Beurs 2013,
courtesy of: Cliff de Booy

– Pictures 5, 6, 8 and 9 taken at the Omphalos release party at the Willemijn, Almere 02-12-2017,
courtesy of: Kees Stravers



EMIAN – Khymeia (2016)



Six years ago on December the 21th 2011, the day of the winter solstice, EMIAN was formed. To celebrate that moment, we have decided to write an introduction for their latest album Khymeia. Way overdue of course, but better late then never.

From the moment I put Khymeia, the second album from the Italian Pagan Folk band EMIAN, in my CD-player, it started to grab me. At first it surprised me, then their music started pulling me in… note by note. By the time the 5th song La Cama Nupcial was playing there was no turning back. I was hooked! The musicality, the originality, the talent. This is a CD well worth buying… But now I’m getting wàààày ahead of myself, so first things first.


EMIAN is a 4 person Pagan Folk band from Italy. As it was formed at the winter solstice 2011, it’s no big surprise the band get its inspiration from their own southern Italy Pagan roots, Mother earth, nature and ancient cultures. They do so with songs by their own hand, inspired by Celtic, North-European and Mediterranean folklore, and songs they collected from those periods, be it in Italian, Finnish, French, English or Gaelic (Both Scottish and Irish Gaelic), taking influences from shamanistic chants to medieval ballads.

The band members are:
Aianna Egan (Anna Cefalo) on vocals, celtic harp and castanets (those are fun).
Emian Druma (Emilio Antonio Cozza) on vocals, hurdy gurdy, nyckelharpa, fiddle, flute, percussion, medieval bagpipe and the Persian santur, an instrument that looks a lot like a hammered dulcimer.
Rohan (Danilo Lupi) on acoustic bass, Irish bouzouki, the tin and low whistle and backing vocals.
Mártín Killian (Martino D’Amico) on drums, percussion, guitar and backing vocals.



The intro song Tribus Hirpeis is followed by a vocal piece written by themselves. Hyria starts with an enchanting harp melody supported by the Persian santur, giving the song a Greek feel. Anna quickly joins in. She has a beautiful warm yet strong voice. A pleasure to listen too. After this ballad-esque start the acoustic bass joins in, giving the song a surprising modern feel. This in contrast to the use of the tribal bass sound from the didgeridoo, well-known from other Pagan Folk bands. Surprising at first, but it actually fits perfectly. With the violin joining in with the harp melody, the band captivates you. Without warning you drift into Khymeia‘s musical world. One you will enjoy.

La giga del lupo starts with a Celtic harp jig that takes me back to the Pagan folklore days of OMNIA, but a loud ‘yehaa’ brings in Emilio’s violin. Playing a lovely Irish folk melody and making it into a perfect instrumental Balfolk dance song. Short, but therefore more powerful.

Rebys is a strong, cheerful and up-tempo song with Spanish Sephardic lyrics, driven by the rhythm of the drums. The Italian language just works wonders in this style of music. Again Anna Cefalo shows she is a really good singer, but she is not alone. It becomes clear that all the band members are talented musicians. A lot of things are happening in the music: harp, Irish bouzouki, hurdy gurdy, percussion, castanets, but also musical breaks, sudden twists in the rhythm, it’s all there. This is really a CD you want to listen to with headphones, just to be able to hear everything that’s hidden in the music (or play it very loud in the living room… when the neighbours are not at home). Midway through this song there is a sudden break in the music, taking it back to only Anna Cefalo’s voice and harp, before the band kicks in again. This build-up is repeated at the end of Rebys.

The next song La Cama Nupcial starts off as if it’s another break, with only Anna’s harp again. If you wouldn’t look at your display at that point, you would certainly think you were still listening to Rebys. Brilliantly done. It clearly shows EMIAN’s compositional skills.

La Cama Nupcial itself is a beautiful duet between harp and flute, a bit like the instrumental duets Sowulo are known for. I always make notes while listening to an album for a review, and at this point I wrote: “I’m now officially hooked!”.

Khymeia is a beautiful album that fits well in the realm of OMNIA, Faun, Sowulo and Rastaban. Not that EMIAN is a copy of any of those bands. They have their own unique style. It’s just to give you, the listener, an idea of what to expect.

The first song not written by EMIAN themselves, and the 6th on the album, is El Viaja de Maria. To show how diversely skilled the members of EMIAN are, it starts with a bit of overtone singing by Emilio Cozza. This is a singing technique where you sing a low tone while making an ‘oe-oo-eu’ sound. When a singer is skilled and has had a lot of practise, his or her vocal chords can make a second tone, higher then the first. The song itself is a well-known traditional (In Extremo recorded a nice version), but EMIAN re-arranged it so it fits their style perfectly. The long instrumental intro will draw you into the song.

Níl Sé’N Lá is actually a Scottish Gaelic song but in the arrangement of EMIAN it becomes a Greek traditional, driven by the percussion. Weird in a way, but it works. It works really well actually. It’s something that EMIAN does so well: they blend their influences together, not only in their song choice alone but also within the songs themselves, making them way more interesting.



I’ll stop here because I don’t want to give away every song on this album. It’s much more fun to get Khymeia yourself and start discovering EMIAN’s musical world . Just listen to the instrumental song La Gavotte for instance. A fun French Balfolk song that, again, finds itself somewhere between the music of Omnia and Faun. Chêne blanc is another up tempo, instrumental dance song. My personal favourite. Kuulin Äänenn is a Finnish (!) ballad, beautifully sung by Anna and Martino D’Amico, but then, halfway, turned into a cheerful Balfolk song. Listen to that flute solo in the end! Surely this song is the high-light of every concert they play. My last personal tip is Le Due Sorelle, an Italian translation by Anna Cefalo of the famous song The Twa Sisters. I have to say the Italian language is very suitable for a ballad like this.

With Khymeia, EMIAN has put themselves right in the top of the pagan folk scene. In my eyes a must have album for everyone who loves this particular style of music.

Cliff

Concert photos taken at Castlefest 2017, courtesy of:
Mariëlle Groot Obbink


Helisir – Spin (2017)


The latest (and last) Helisir CD ‘SPIN’ came out this September and it’s a gem!

But first let’s introduce Helisir a bit more.

Helisir is the musical project and brainchild of Jacqueline Stempher. It started out as an idea for a book based around the fictive Nordic land Helisir, a Nordic equivalent of Avalon where the old Gods in ancient times met.

Over time their stories were set into music by Jacqueline and they ended up on the first Helisir album ‘Ravn’. It was produced by Jacqueline herself and could best be described as Nordic influenced ambient Pagan music. All instruments recorded were played by Jacqueline herself.

In 2016, a mini CD came out called ‘Sårbare’. It was recorded at the Dear World studio by Fieke van der Hurk and featured Jacqueline on harp and vocals in an all acoustic setting.

Now the third album ‘SPIN’ is finally here to conclude the Helisir story.

This time Jacqueline visited the Lava Studios in Copenhagen to have Christopher Juul record ‘SPIN’. The album picks up on the sound of ‘Ravn’ and is musically best described as a crossover between Dido and Euzen. (So not the voice/harp sound we have come to know through her ‘live ploink‘ streaming concerts on Facebook or the mini CD ‘Sårbare’.)


Jacqueline’s last Facebook livestream from the Netherlands, just before moving up North.


From the first seconds of ‘The Tide’ it’s clear this album is all about Jacqueline’s beautiful voice. A crossover between the laid back, fragile way of singing of Dido, the strong sound of Anneke van Giersbergen (ex-The Gathering, Ayreon) and a touch of Sara Weeda (SeeD, ANÚNA).

In her lyrics Jacqueline stayed close to her heart, making this her most personal album. She has put the feelings and fears she went through the past years in beautiful musical poems, partly in English, but also some in Dutch. Listen to ‘Done’, ‘Lighthouse’, ‘Ashes’ or the Dutch title song ‘Spin’ and you’ll hear how personal her lyrics have become.

Jacqueline composed all the music and Christopher Juul arranged all the songs and took care of the instruments, so Jacqueline could focus on the vocals. He managed to make the music work as a supportive partner to Jacqueline’s voice, enhancing the lyrics instead of the instruments taking over. Those who love Euzen will recognize his style with those subtle touches making the music interesting and ‘SPIN’ a CD well worth buying!


I am now left with two wishes:

1. That somewhere in the future, Jacqueline will team up again with Christopher to make more music. It would be such a shame if that would never happen again.

and

2. That Castlefest will book Euzen for their Winter Edition 2017 and they will ask them to support Jacqueline Stempher there on stage as well, so we can hear her songs live in the way they were intended to sound. Mark… Jacqueline… Christopher… pretty please??? 🙂


– Cliff


– Live concert pictures courtesy of:

Kees Stravers
https://www.flickr.com/photos/case_s








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