Archives For Ashkelon Sain

At past Faerieworlds, Friday is usually seen as the least busy of the three-day event. People have to work, it’s a shorter day, and many are still arriving. However, this year seemed far, far, larger, and the energy level was high, making me think that we’ll see record-breaking attendances on Saturday and Sunday. Like all opening Fridays at Faerieworlds, it started with a ceremony/ritual led by Emilio and Kelly from Woodland, with help from S.J. Tucker. They did a Lammas invocation, including offerings of fruits and grains, with Donovan and his wife as special guests of honor. Then, a giant spiral dance was led by a local priestess while the musicians played.

That kicked off a day of amazing music, headlined by the transcendent Persian fusion ensemble Niyaz, featuring the amazing vocals of Azam Ali. However, I think that the performance by Soriah with Ashkelon Sain is one that truly surprised a lot of people, and created hundreds of new fans. The shamanic throat-singing ensemble, by the end of their set, had entranced the audience, and I feel confident this won’t be the last time they’ll play at Faerieworlds.

Soriah with Ashkelon Sain and Lucretia*Renee

Soriah with Ashkelon Sain and Lucretia*Renee

Check out my A Darker Shade of Pagan podcast tomorrow for an exclusive post-show interview with Soriah and Ashkelon Sain. Today at Faerieworlds I’m hoping to conduct an interview with S.J. Tucker for The Wild Hunt, so stay tuned! Meanwhile, here are some Pagan news links to peruse while I’m away with the faeries.

That’s it for now, back to the Realm for me!

While I generally keep my music podcast A Darker Shade of Pagan from getting entangled in the daily workings of The Wild Hunt, every once in awhile I like to alert my readership of some great Pagan and Pagan-friendly music that I come across. Since I just posted my ADSOP top ten of 2011 show, I thought I would share what I thought were some of the best albums that speak to the Pagan soul from the past year. Consider it a gift-giving guide to the Pagan in your life looking for something different in the way of “Pagan music”.

ADSOP’s Top Ten Albums of 2011:

10. Metal Mother“Bonfire Diaries” [Purchase]

A project of Bay Area singer-songwriter Tara Tati, Metal Mother is a winsome mix of ethereal textures and tribal art-pop that do a great showcasing Tati’s expressive vocal style. Tati, a “student of many esoteric traditions,” sings about connection with the earth, politics, relationships, and freedom in way that evokes that California spiritual ethos she has emerged from. Check out the (somewhat NSFW) video for her song “Shake” (which she also directed) to get a feel for the sound, aesthetic, and vision of this intriguing new artist.

09. The Moon and The Nightspirit“Mohalepte” [Purchase]

At this point in their career Hungarian Pagan folk band The Moon and The Nightspirit have reached a point of maturity and confidence in their output that almost guarantees a solid album of new songs on every new album. They make their unique mixture of ethnic folk and neoclassical darkwave sound almost effortless. The vocals of Agnes are as strong as ever, and I’ve even come to appreciate the metal-growl accents of her partner Mihaly. One of the very best explicitly Pagan bands operating today.Check out this live video of them playing at Germany’s Wave Gotik Treffen to get a taste of what you’re missing if you haven’t already jumped on this bandwagon.

08. Arborea“Red Planet” [Purchase]

For those who are looking for a fantastic hybrid of archaic British folk styles, American twists on the form, both old and new, and ghostly atmosphere, you simply can’t go wrong with Arborea. Their latest album, “Red Planet,” is their most developed, and I hate to use this term, but, mature-sounding release yet. Shanti Curran’s vocals are like taking a walk in a fog-laden forest, and the duo’s interpretation of songs like “Black is the Colour” or Tim Buckley’s “Phantasmagoria in Two” are remade into narcotic anthems, psychedelic folk that is more natural entheogen than artificial lysergic acid diethylamide. This is music to watch trees grow to, though they can be short and sweet, like on the single “Careless Love.”

07. Seventh Harmonic“Garden of Dilmun” [Purchase]

Do you like Dead Can Dance? Do you like thematic explorations of “the muses, the wheel of the year, and the seasons of the heart”? Then you’ll love Seventh Harmonic’s new album “Garden of Dilmun.” After nearly a decade away, composer Caroline Jago’s band returns with an immensely strong album that features a new lead vocalist in soprano Ann-Mari Thim of Arcana, and weaves in and out of tribal, martial, and ethereal styles creating a dynamic and engaging trip through the Pagan ritual year. This is ritual music of a different and unique sort.

06. Faun“Eden” [Purchase]

German Pagan folk act Faun’s new full-length “Eden,” is the follow-up to 2009’s “Buch der Balladen.” Unlike that album of largely sedate, well, ballads, “Eden” follows more in the footsteps of 2007’s “Totem” or 2005’s “Renaissance,” the album that helped introduce them to the United States. For those of us in the states who were lucky enough to catch them live at Faerieworlds, you’ll find much of the energy and charm in this new work that won over so many new fans. “Eden” features a guest performances from the Mediaeval Baebes, and they honor their recent experiences with the Faerieworlds crew by including contributions from storyteller Mark Lewis and illustrator Brian Froud. This album feels like something of a capstone on their previous accomplishments, and I look forward to what shape the band will take on their next album.

05. Julianna Barwick - “The Magic Place” [Purchase]

Julianna Barwick is a celestial choir of one, the “indie rock Enya,” as some would put it. The layers and loops of her voice creating a feeling of otherworldliness, of sacred song, while never specifically tying herself to any one interpretation of what context that transcendent  experience should happen in (according to Barwick, the “magic place” the title refers to is “a tree on our farm” ). This could be called New Age music if that genre had retained some bite, some hint of darkness in its heavenly synth washes and choirs of ascended masters. The site Tiny Mix Tapes calls Barwick’s style of music “holy ambient,” and that seems to get to the heart of this captivating sound. Truly singular.

04. Bjork“Biophilia” [Purchase]

I have no idea what I could possibly say about Bjork that hasn’t been said already. Her identity as an artist, as an innovator, as an activist, has long since been secured. So let me just say that “Biophilia” is a truly ambitious work that stretches the idea of the “album” in new directions, and to new heights. But leaving aside the interactive applications and the ornate choral concerts, the music itself finds Bjork exploring the natural world and the mysteries and wonder of our universe. This is Bjork gone cosmic, an observer to the very birth of existence itself. I have no idea where she could go from here, but I’m sure she’s already working on it, and that it’ll be brilliant.

03. The Machine in The Garden - “Before and After the Storm” [Purchase]

American Darkwave duo The Machine in the Garden, while not a Pagan band, use myth and mysticism as a lyrical anchor throughout their new album “Before and After the Storm,” their first in six years. According to singer Summer Bowman she “looked to mythology and mysticism when I was writing the lyrics for these songs. I wanted to think about other cultures and their origin stories as a mirror of returning to many of our musical roots with this work.” Songs like: “Cimmerian,” “In the Vanir,” or “Power and Prophesy” drip with allusions to an ancient folkloric past while marrying them to their dark modern sound. A truly excellent release, buy an immensely talented band.

02. Atrium Animae – “Dies Irae” [Purchase]

The Italian band Atrium Animae was formed in 2007, their name is “considered as a symbolic representation of the passage from physical world toward an immaterial world.” The heavenly soprano of Alessia Cicala, a member of the band Chirleison, partnered with the compositions of Massimiliano Picconi, together create music on their debut “Dies Irae” that is stately in its atmosphere, a sacred enveloping that is almost funerial in outlook. Or as the band’s promotional material puts it: “A symbolic voyage in a silent wasteland made of treachery, defeat and spiritual hunger. A world where the locked embrace of loss and despair are represented through a reinterpretation of passages taken from religious and pagan texts.” Sublime, and an excellent addition to the genre of neoclassical darkwave.

01. Soriah with Ashkelon Sain – “Eztica” [Purchase]

Soriah with Ashkelon Sain, a duo whose album “Atlan” made my A Darker Shade of Pagan top-ten for 2009, returns in 2011 with “Eztica.” Described as “a neo-tribal, mystically ethereal, paranormally enrapturing musical experience” this mix of throat singing (what Soriah calls “an offering to nature in her own tongue”), atmospherics, and ritual, is truly captivating. While something of a companion to “Atlan,”  I think “Eztica” is the stronger album, one that sees more complex arrangements, and a sound that can be driving as well as atmospheric. This is a shamanistic ritual art experience, one that documents Soriah’s explorations into his own ethnicity and heritage, amplified by the amazing soundscapes of former Trance to the Sun guitarist Ashkelon Sain. This is the kind of musical spiritual journey that most others simply aspire to.

You can download my latest podcast, featuring songs from all these albums, here. I hope you’ll explore these releases, and perhaps find some new music to love. As always, apologies to all the other artists who released great albums this year, I only have room for ten.

There are lots of articles and essays of interest to modern Pagans out there, sometimes more than I can write about in-depth in any given week. So The Wild Hunt must unleash the hounds in order to round them all up.

That’s it for now! Feel free to discuss any of these links in the comments, some of these I may expand into longer posts as needed.

“In the presence of a moment divine, As the shadows gather at the shrine, We retreat and advance, In the spell of the dance, Familiars all, Tonight”“Sovereign” by Faith and the Muse

Last night I had the distinct pleasure of attending a concert featuring Faith and the Muse, a seminal darkwave band who’ve long enjoyed an ardent Pagan following for their songs that explore mythology, nature, and the sacred experience. I wasn’t planning on doing a formal write-up of the show, but what I experienced was so liminal, so ritualistic, and in the sense that I understand it, “pagan”, that I felt I would be remiss in not sharing my impressions so that others might not miss the opportunity to experience it for themselves as the tour stretches across America.

Let me begin by saying that I came in expecting a great show. I’ve heard some amazing things about Faith and the Muse live, and the pre-show DJing by Chicago/German promoter Scary Lady Sarah (who’s touring with the band), as well as the short set by recently formed opening local band Splendor and the Resistance, who show a lot of potential, had made me optimistic about the main event. But what I ended up experiencing wasn’t so much a great “rock show”, but a 3-hour musical ritual that invoked the powers of nature. This became clear as the second opening act, Soriah, who’s opening for all of Faith and the Muse’s Pacific Northwest dates, came onto the stage.

It wasn’t so much a concert set, but a full-blown shamanistic ritual art experience. Melding Tuvan throat-singing, smoke, incense, incantations, and ornate costume with guitar/keyboard soundscapes crafted by Trance to the Sun veteran Ashkelon Sain. It not only affirmed that I made the right decision in making Soriah and Sain’s album “Atlan” one of my top picks for 2009, but also put the audience on notice that this was now a holy venture, and that we were standing on holy ground.

That theme, the ritual if you will, was carried to the next stage by a short butoh performance introduction by the fusion bellydance duet of Serpentine, who describe themselves as “temple dancers of the serpent mythos”, and who are an integrated part of Faith and the Muse’s live experience for their “Ankoku Butoh” tour. Then the band came on stage and converted all doubters and hangers-on to the unique power of William Faith and Monica Richard’s musical and artistic vision.

In addition to Serpentine, who performed alongside, and in once instance, walked the perimeters of the venue with smoking cauldrons of incense, the band featured a taiko drummer, a string section, and two guitar players. Effortlessly moving between old and new songs, between Eastern and Western conceptions of the sacred, of songs that sang of ruin and hopeful rebirth, of solidarity and being true to who you are. By the end of the show, the entire crowd, whether they had come to see Faith and the Muse or not, were pounding their feet clamoring for an encore. It was an event, that like any true otherworld experience, no Youtube video or photo can properly capture.

From time to time there is talk as to what a modern “Pagan music” would sound like, and we are often ready to throw laurels at the feet of any singer-songwriter or band willing to cater to our tastes and attend our festivals. However, I have long felt that the vibrant sacred music of today, the creative force that speaks to the Pagan soul, isn’t necessarily seeking our attention, or longing to  attend our conventions. They are instead sending their message, and sharing their sacred works, with those who go to the trouble of seeking them out. They are in the underground, playing at clubs, rented halls, or even massive multi-band European festivals, but ignored by most critics and media outlets. They are singing and performing for those willing to step outside of the boundaries and labels so craved by those hoping to capitalize on a “scene” or “subculture”.

The modern Pagan music, the music of sacred nature, old gods, myth, reverence, and rebirth is out there, and some of us lucky searchers have found it. Though the artists I describe would most likely never label it “Pagan” for our easy consumption, nor fit into our own narrow ideas of what form the sacred musics should take, they are indeed speaking to us if we will listen. I hope you will listen too.

For more of my own explorations of underground music that speaks to the Pagan soul, please check out my radio show/podcast A Darker Shade of Pagan. You may also want to check out my top 10 albums for 2009.