It’s telling that one of the most powerful, beautiful and profound records that we’ve yet heard this year doesn’t feature a million dollar production job, nor a host of musical legends, enough hype to make Simon Cowell blush, or even a single note of guitar. From the anvil-crappingly heavy to the electrifyingly intense, via all manner of otherworldly grooves, fantastical complexities, and endless hooks, we’ve heard a hell of a lot of great music in 2010... But nothing quite like this.
You see, Wildbirds And Peacedrums focus on the very core, the heart of what made us fall hopelessly in love with music in the first place. ‘Rivers,’ the Swedish band’s third album, is both divine and imperfect, elemental, but with incredible depth. For those who’ve never come across the husband and wife duo the formula sounds remarkably minimalistic, with Mariam Wallentin covering vocals and organ, via a bass pedal (and on the second half of this album, ‘Iris’, Steelpan) and Andreas Werliin covering percussion duties. Despite the apparent simplicity, the duo are able to conjure some truly haunting, unforgettable music. ‘Rivers’ is comprised of two EP’s ‘Retina’ and ‘Iris’, which had previously only been available on 12”, and which complement each other brilliantly. ‘Retina’ is the most immediately striking half of the record, Wallentin’s rich, but fragile voice soaring on the unsettling ‘Peeling Off The Layers’ and primal, rousing ‘Fight For Me’ (which incidentally would be prime candidate for the band’s most accessible track so far), alongside the multi-layered majesty of Iceland’s Schola Cantorum Reykjavik Chamber Choir. It’s expressive and bold music, but the duo never allow the wall of voices at their command to drown out the essential melody of their compositions. Recorded in an Icelandic church with a name that we can’t correctly spell on this keyboard (approximately, Gudridarkirkja, minus some Icelandic lettering), ‘Retina’ has an incredible live feel, something that reminds us of how impressive the duo’s performances can be.
‘Iris’ on the other hand is reflective, but no less interesting. ‘Rivers’ as a whole is rich with references to water, movement, and turmoil, themes that are explored throughout both EPs: if ‘Retina’ is the storm, thoughts and emotions swirling like an audible tempest, then ‘Iris’ is the aftermath, contemplative and understated. Werliin’s minimal percussion and the steelpan and organ of Wellintin weave intoxicating atmospheres, which enshroud Wallentin’s bruised, searching vocals. ‘The Course’ aches with hope, while ‘The Drop’ is in turns desolate and musically bright; it’s not an easy listen by any means, but it pays to persevere. It’s fair to say that this might be the first Wildbirds and Peacedrums record that many have come across, particularly for those who have only encountered the band since Werliin’s involvement in Dan Berglund’s Tonbruket project, and it’s the perfect place to start. Simply enchanting, and an essential listen for the musically open minded.
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