Search - White Willow :: Storm Season

Music of a Stormy day in Heaven.

IcemanJ | Ohio, USA | 10/06/2004

(5 out of 5 stars)

"I've always thought of White Willow's music to be quite heavenly or ethereal, and this is no exception. Heaven has got to have a lot of stormy weather, being up there in the clouds and everything. This album is more on the depressive/dark/heavy edge of white willow. The songs are so much fuller sounding especially when juxtaposed to "Ingus Fatuus" (which is still an excellent album); they've come a long way from that sound. This album has a little less symphonic sound then the other three, and more prominent electric guitars, which isn't bad, I just hope they don't continue in that direction too much or they'll turn into a gothic metal band or something (which may or may not turn out good)



"Nightside of Eden" might be one of the heaviest songs they've done, it contains menacing metal riffs underneath Sylvia Erichsen's powerful vocals, but of course lets up for calmer and more symphonic transitions. The title track has very creepy, ghostly echoed (not really echoed, but electronically manipulated, can't really describe it) vocal melodies and subtle, eerie flute playing, illustrating the album cover and inside artwork very well (which is very well done and much different from their other releases). "Endless Science" is the one song that sounds like it would fit perfectly on "Ex Tenebris," in fact the acoustic playing sounds very similar to a song on it. This song has an extremely joyful touch unlike the other songs and has prominent mellotron and a bit of violins.



This was a very satisfying release for me and I personally liked it right away, some fans might not like it right away because it is quite different, some might not like it much at all. If you're new to white willow, I'd probably recommend "Sacrament" first, unless you'd like the heavier stuff better. If this is your first White willow, don't pass up the rest of their albums! Other similar bands I recommend: Anglagard, Paatos, and Caprice."

Definitely worth the wait!

Lord Chimp | Monkey World | 11/04/2004

(5 out of 5 stars)

"White Willow's fourth album was delayed on several occasions, and was a painful wait for me. All release date postponements are forgiven because the finished product of _Storm Season_ is great. While White Willow is a prog band originating in the 90s, they should not be confused with the neo-prog/third-wave AOR-inflected stuff people usually associate with 90s prog. White Willow's well of influences overlaps with 70s British symph-prog, they have managed to establish a very unique overall sound. I think it is a concept album in some manner of speaking, because someone named Sally is mentioned a lot, and the last few songs talk about storms.



_Storm Season_'s aural moods are darker than the relatively 'light' previous album. In terms of arrangements, there are more heavy guitars but also more mellotrons/synths than before. Otherwise, the band continues to hone its unique epic, emotional folk-symph-prog amalgam. The lineup is a bit different this time, with cello and more synths added to the rock band + synths and flute core. Vocalist Sylvia Erichsen sings far less sweetly, adding credence to the band's descent into dark heaviness. The production is characteristically pristine but this time the mix was handled by Alan Douches, who has done mixes for bands as varied as Dillinger Escape Plan and Yes. Although the music isn't really anything I would consider _heavy_, the heavily distorted guitars and chugging metal riffs ("Soulburn") bring a few important elements to the music. Holm-Lupo now has more of a scale on which to explore his already poignant deployment of dynamics. The heavier sound adds emotional emphasis to the flow of the album, and makes some of the progginess of White Willow seem downright angry. The hungry guitar riff opening "Nightside of Eden" cackling upon arpeggiated synths is some mad proggin'. Heaviness and storminess seem to me perfectly natural together, as on "Soulburn", with eerie verses of soft instrumentation and male vocals, a grinding, crunchy chorus and solo cello section.



The tremendously haunting title track arranged for synths and mellotrons, and incredibly atmospheric vocals by Erichsen: "Gather your children and pray they will be there when the dawn breaks / Sound all your warning bells and cry for the lost sailors at sea / They are the first who will know what a storm can be." "Endless Science" fits the bill for the album's short acoustic ballad. The ominous, valedictory opener "Chemical Sunset" adopts a traditional folk motif into its grumbling, eerily beautiful prog arrangement.



The performances are outstanding all around. There is never too much or too little. Holm-Lupo's imaginative songs are gripping and emotional, and the production is, as always, outstanding.



_Storm Season_ is my favorite White Willow album along with _Ex Tenebris_, and is definitely one of 2004's Norwegian musical treasures.



(P.S.: I almost dropped a log when I saw someone mention this band in the same breath as the FLOWER KINGS. They sound nothing alike. This band wipes the floor with those Swedish wiener-prog nerds.)

"

More sombre and heavier than previous efforts

Murat Batmaz | Istanbul, Turkey | 04/21/2007

(4 out of 5 stars)

"Compared to the first three White Willow albums, Storm Season is a relatively heavier and darker album. While it still retains the aesthetics that defined their earlier work, it also incorporates a wider use of heavier guitar rhythms, metallic drums, and an array of cellos, flutes, and tambourines alongside regular prog rock instruments. Lars Fredrik Froislie puts in White Willow's most diverse keyboard work, utilising myriad synth sounds with piano, Mellotron, Hammond, subtle electronic textures, and many others. Aside from vocalist Sylvia Erichsen, there are also guest appearances to supply the songs extra depth and dimension.



The folky flute intro of "Chemical Sunset" is perhpas the only noticeable characteristic on the CD that could be linked with the band's more acoustic folky past. Brimming with Erichsen's sweet vocals and a blend of strings, the song boasts both sublime moody passages and elaborate unison solos. The ending sees a pronounced drum attack around which an eerie synth lead and guitar crescendo are built. From here on, the album, being a concept piece, retreats to a more sombre territory, introducing the story of Sally, the main character, in the brooding "Sally Left". Though all White Willow songs carry a distinct darkness to them, this one is imbued with utter despair. It mixes subtle sound effects into a textured, Mellotron-based song that also contains a vital cello motif in its framework. Holm-Lupo's acoustic guitar recalls Landberk while the ghostly voice of Teresa Aslanian lends credence to the dark lyrics. The Floydian guitar solo at the end is spine-chilling due to its weird harmonic structure and it complements the flow perfectly.



"Soulburn" and "Nightside of Eden" are among the heaviest songs they've penned, therefore alienating some of their older fans. The metallic edge in the guitar work, classically themed melodies, and somewhat jarring structure certainly drive the band from their older work known for its simplicity and bare beauty. "Soulburn" is especially a strong experiment, balancing male vocals with Erichsen's croon, thicker bass parts, and tension-filled guitar sounds. At certain points, the song takes on an almost avante-garde vibe, with its cluttered rhythmic angle and angular guitar work, but Holm-Lupo does throw in his trademark Floyd solo, which is arguably his most moving on this album. The quality of the composition is enhanced through further flute and string arrangements, so the piece never really loses focus.



Sylvia Erichsen's vocals on the predominantly acoustic ballad "Endless Science" and Bjork-like "Insomnia" are darker and more mood-intensive than ever. When she goes for the high register a capella type of vocals in the latter, it's like an excerpt from Bjork's Homogenic masterpiece. The use of sparse piano notes, frighteningly dark organ, and glockenspiel (awesome!) is awe-inspiring. The vocal climax at around the 3:18 mark is impossibly beautiful and haunting -- perhaps Erichsen's best yet. This song is simply amazing, emphasizing her vocals heavily without diverting from the instrumental aspects of their music. It moves through spacey arrangements to guitar-heavy passages that always culminate in timeless melodies.



The male vocal parts also bring in a welcome change to their songs, and I think they should somehow hook up with Ulver's Garm on a future release. Considering his work on The Gathering's Souvenirs with Anneke was otherworldly, I cannot fathom what it would sound like if he were to appear on a folky, somewhat Ulverian nordic piece providing contrast with his deep, unique vocal stylings. Sadly, this is the last album with Syliva Erichsen on vocals, but frankly, all White Willow discs are worth checking out -- they are essential in different ways."