听The Moon Lay Hidden Beneath a Cloud《A New Soldier Follows the Path of a New King》
淡定，淡定，这个世界正在毁灭和重生之中。。。这张其实最符合我的口味，例如XX中的工业成分和吟唱的交织，仿佛是一个面临毁灭的女祭司在哼唱，随之便是地狱般的低沉的咕哝声。
THE MOON LAY HIDDEN BENEATH A CLOUD (Albin Julius and Elisabeth) contrive to produce a very full sound on A new soldier follows the path of a new King (1995 ART 3 CD), their third full-length CD. Elisabeth has a powerful voice and sings well in English, the melodies are distinctive and the whole is presented with a keen sense of drama.
Unfortunately the CD comes in one of those cardboard sleeves which won't fit into a conventional CD rack, and has no track listing. The names used below, therefore, are conjectural.
The first track is a mediaeval dance tune played at an unmediaeval speed, but the second track soon establishes their demonic 'dark folk' credentials with its synth drone, and angrily and menacingly declaimed lyrics. It concerns Crowley and a comparison of pre-Christian, Christian and Islamic culture.
'God and His Angels' (Track 3) loops a sound clip from Kenneth Branagh's Henry V over the background of a powerful synth build-up. 'Death by fire' (Track 5) is very compulsive and strangely familiar. It is simultaneously sung and shouted over by Elisabeth, a treatment repeated on other tracks and something of a leitmotif. It also features very effective use of percussion and good synthesiser sound effects.
'Swiny Preachers' (Track 6) provides some light relief. Set to another mediaeval or traditional folk tune, this song continues the folk tradition of the bawdy cleric:
T'is no safety from their pike - for virgin, poultry, nun or dyke!
Following Track 6 there appears to be a silent gap, but it is actually a very, very quiet beginning for Track 7 which gradually builds up. Tracks 8 & 9 both sound like traditional folk tunes, but by now everything also begins to sound suggestively 'dark', whether it is or not!
Track 10 has a softer, light and breezy, style reminiscent of 70s 'contemporary folk', and contains an element of the tune used for 'We Three Kings of Orient Are', but lest this puts anybody off, the words here, in French and English, do not appear to have any connection with this Christian carol. Track 12 is more industrial and dark, and appears to represent the ravings of an incarcerated lunatic.
Some tracks have a distinctly Scottish association, especially Track 16 which has the tune of the Scots border ballad, 'The Twa Corbies', which is merged with another soundclip from the Branagh film. Track 18, 'Holy Nation', is some sort of call to arms, while Track 20, with a strangulated, slowed-down, voice-over, provides a suitably eerie finale.
Many thanks to Albin and Elisabeth for supplying a review copy of this CD.
Their music combined modern electronics, tape loops and samplers with medieval instruments such as the shawm, hurdy gurdy, and Hexenscheit. Alzbeth was the primary vocalist for the group and often sang traditional songs in numerous archaic languages including Middle High German, Latin and Old French. Julius provided distorted and backup vocals.
When performing live, the band often played in old churches, fortresses, medieval prisons and theatres that provided an appropriate atmosphere for their static, militaristic performances.
Early on, the band provided no official photographs or any more information outside of a Swiss mailing address found inside of the albums. The band rarely appeared live or granted interviews. No songs were ever given official titles. After their split, both of the duo were considerably more vocal and promotional images were released.
With each subsequent release the band presented themes traveling further into European history and becoming more martial, choral and bombastic in approach, culminating in their final album; the largely World War II-inspired The Smell of Blood but Victory (1997).
In 1998, the duo, also a couple, parted ways and recorded no new material. All of the group's music was released on their own Arthur's Round Table record label and distributed by World Serpent Distribution.
[edit] Post-Split
At the same time as the recording of The Smell Of Blood But Victory, Julius released material on a then-side project he called Der Blutharsch. This has subsequently become Julius' main project after the split. Julius has since played live and released some Der Blutharsch covers of TMLHBAC material that he has claimed was originally intended for Der Blutharsch.
Alzbeth did erect an official TMLHBAC website and has said that she will be releasing material by a musical project of her own.
In 2000, Alzbeth released a book after the duo parted ways. This hard-back and cloth-bound book included lyrics, photographs and references for the historical themes used by the band.
In 2004, likely spurred by the bankruptcy of World Serpent Distribution and the subsequent out of print status for the band's entire catalogue, Alzbeth announced through her mailing list that Julius and she had decided to rerelease their back catalogue in some form in the future.
THE MOON LAY HIDDEN BENEATH A CLOUD (Albin Julius and Elisabeth) contrive to produce a very full sound on A new soldier follows the path of a new King (1995 ART 3 CD), their third full-length CD. Elisabeth has a powerful voice and sings well in English, the melodies are distinctive and the whole is presented with a keen sense of drama.
Unfortunately the CD comes in one of those cardboard sleeves which won't fit into a conventional CD rack, and has no track listing. The names used below, therefore, are conjectural.
The first track is a mediaeval dance tune played at an unmediaeval speed, but the second track soon establishes their demonic 'dark folk' credentials with its synth drone, and angrily and menacingly declaimed lyrics. It concerns Crowley and a comparison of pre-Christian, Christian and Islamic culture.
'God and His Angels' (Track 3) loops a sound clip from Kenneth Branagh's Henry V over the background of a powerful synth build-up. 'Death by fire' (Track 5) is very compulsive and strangely familiar. It is simultaneously sung and shouted over by Elisabeth, a treatment repeated on other tracks and something of a leitmotif. It also features very effective use of percussion and good synthesiser sound effects.
'Swiny Preachers' (Track 6) provides some light relief. Set to another mediaeval or traditional folk tune, this song continues the folk tradition of the bawdy cleric:
T'is no safety from their pike - for virgin, poultry, nun or dyke!
Following Track 6 there appears to be a silent gap, but it is actually a very, very quiet beginning for Track 7 which gradually builds up. Tracks 8 & 9 both sound like traditional folk tunes, but by now everything also begins to sound suggestively 'dark', whether it is or not!
Track 10 has a softer, light and breezy, style reminiscent of 70s 'contemporary folk', and contains an element of the tune used for 'We Three Kings of Orient Are', but lest this puts anybody off, the words here, in French and English, do not appear to have any connection with this Christian carol. Track 12 is more industrial and dark, and appears to represent the ravings of an incarcerated lunatic.
Some tracks have a distinctly Scottish association, especially Track 16 which has the tune of the Scots border ballad, 'The Twa Corbies', which is merged with another soundclip from the Branagh film. Track 18, 'Holy Nation', is some sort of call to arms, while Track 20, with a strangulated, slowed-down, voice-over, provides a suitably eerie finale.
Many thanks to Albin and Elisabeth for supplying a review copy of this CD.
Their music combined modern electronics, tape loops and samplers with medieval instruments such as the shawm, hurdy gurdy, and Hexenscheit. Alzbeth was the primary vocalist for the group and often sang traditional songs in numerous archaic languages including Middle High German, Latin and Old French. Julius provided distorted and backup vocals.
When performing live, the band often played in old churches, fortresses, medieval prisons and theatres that provided an appropriate atmosphere for their static, militaristic performances.
Early on, the band provided no official photographs or any more information outside of a Swiss mailing address found inside of the albums. The band rarely appeared live or granted interviews. No songs were ever given official titles. After their split, both of the duo were considerably more vocal and promotional images were released.
With each subsequent release the band presented themes traveling further into European history and becoming more martial, choral and bombastic in approach, culminating in their final album; the largely World War II-inspired The Smell of Blood but Victory (1997).
In 1998, the duo, also a couple, parted ways and recorded no new material. All of the group's music was released on their own Arthur's Round Table record label and distributed by World Serpent Distribution.
[edit] Post-Split
At the same time as the recording of The Smell Of Blood But Victory, Julius released material on a then-side project he called Der Blutharsch. This has subsequently become Julius' main project after the split. Julius has since played live and released some Der Blutharsch covers of TMLHBAC material that he has claimed was originally intended for Der Blutharsch.
Alzbeth did erect an official TMLHBAC website and has said that she will be releasing material by a musical project of her own.
In 2000, Alzbeth released a book after the duo parted ways. This hard-back and cloth-bound book included lyrics, photographs and references for the historical themes used by the band.
In 2004, likely spurred by the bankruptcy of World Serpent Distribution and the subsequent out of print status for the band's entire catalogue, Alzbeth announced through her mailing list that Julius and she had decided to rerelease their back catalogue in some form in the future.
- 表演者: The Moon Lay Hidden Beneath a Cloud
- 发行时间: 1995-01-01
- 流派: 民谣
- 出版者: Arthur's Round Table
- 专辑类型: 专辑