This
is ritual music. From the opening of earthen growling of didgeridoos the
initiate, or listener, is supplanted into the hypnotic trance that threads
this entire album, shaman prepared. Tapio has taken great personal care
with this album in ensuing his writing on and experiences with the esoteric
finds creative expression into this music; his inspiration from certain
matters recondite. The CD booklet itself has a short essay by Tapio of
his magical initiation into North European mysteries, replete with footnotes.
An epidermal primitiveness is a slithering facet of the hypnotic three-quarter
hour that begins deep under ground in wind ululating tunnels
that annunciate as the throaty didgeridoos whose presence dodges amidst
the honeycomb, disorientating the listener so that all sub-consciousness
inspissates, aware. Bells ripple distilled in the subterrene ether crowded
with fleshless voices, stippled organic fugues make for busy shape-shifting
in the dark. From shadow there comes light, at least light as in above
ground. Animal sounding instrumentation squeals and shrieks in the shadows
from a bonfire where ritualising humankind is in obeisance to a full moon:
a different side of light. Didgeridoos, throat and vocal simulations feature
prominently on the album, a feature that predates Abrahamic religions
to more 'pagan' ties that serves the album well, especially in entrancing
the listener with the rhythmic and pulsing oration. The snake's susurration
and the cawing of crows are woven into the carefully sculpted samples,
drones and glitches that convey convincing and evolving organic soundscapes.
The jewel-case nests an eight-page colour booklet that features the aforementioned
'essay' from Tapio Kotkavuori that not only discusses esoteric matters,
but also the process of aural visualisation and instruments used. Also
of note is an included video of the song, 'Underground Tunnels',
an AVI format video of rather high quality; a strange sojourn of offering
and ritual atop an ancient hill.
NYR
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