Reviews Archive
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FOUND IN THE COLD [2008] |
From Judas Kiss Magazine
N/R
Rising Shadows comprises of the triumvirate of Guillaume Le Huche, Linda-Li and the ever busy, Fredrik Klingwall. 'Found In The Cold', the second release by Rising Shadows, while gifted with a similar vein to that of their first nevertheless lays fresh snows to chill the black earth. There is a powerful gothic seam cutting through the music but it is of a 'northern gothic' with images of dark, snow-mantled trees replacing the crumbling architecture of Poe or Walpole. One aspect 'Found In The Cold' conjures is that of atmosphere and the album opener, 'Vacui' creates a vivid sense of vast, open landscapes. This image is voiced by the use of an organ; an instrument Klingwall uses throughout 'Found In The Cold' to good effect. Linda-Li represents the sole vocalist and here on the album her voice is wrapped within the tapestries of rich compositions in such a way that sweetens the sombre mood towards which the music sometimes gazes. On tracks such as ''The Leaving' and 'Fate Of Us All' Linda-Li's sumptuous voice is layered, providing a myriad of emotions that linger long after the tracks finish. The album is framed by it's instrumentation; organ, keyboard, bass and voice that intermingle to produce haunting melodies that hint of a lost folklore and are enlivened by crisp chimes and dulcimer-like strings. The narrative to this album is progressed through the music with Linda-Li's voice adding a disparate humanity to the passing of time the tracks elicit; a leaving and a return. 'The Carriage' begins that return with an undercurrent of harsh rumbles that cling to the earth below sonorous organ music - a recognition and sorrow at the fleeting life we all experience. There's a nice vinyl skip into 'Nothing Left But The Memories', a track that has a music-box like quality, hinting at the retention of memory through music heard in happier times. In places vaguely recalling an essence of Black Tape for a Blue Girl or All About Eve, Rising Shadows have nevertheless arose within their own landscape, one through which their music sweeps and swells amongst shadowed woods and whispering tall grasses that sway under cold winds. 'Found In The Cold' succeeds in realizing a work awash with subtle musical arrangements that conveys the cold solitude of life and death with bitter introspection.
Written By Michael Cunningham
From Chronicles of Chaos
7/10
Rising Shadows cannot be considered as a metal band, not even in the post-Mortiis universe, but mastermind Fredrik Klingwall has substantial credentials in metal due to his keywork in a litany of bands. Plus, bassist Guillaume le Huche was once part of Katatonia, whom some of our readers may be familiar with. However, his bass work is subsumed by an array of dreamy keys and delicate sub-operatic vocals. Klingwall maintains a similar fragmented approach as with his solo project, but works better in an ethereal rather than neoclassical context, where the abbreviated songs can be seen as audio expressions of dream: fleeting yet vivid encounters that quickly slip through our fingers without a wilful act of remembrance. Those familiar with similar-minded acts on the Cold Meat Industry label are most likely to appreciate this little gem.
Written by Quentin Kalis
From Heathen Harvest
N/R
Second full length by Swedish band Rising shadows present the trio a lot more concise and mature in their quest for romantic music. A blend of stylized medieval folk dressed in ethereal ornaments, beautiful neoclassical arrangements and dismal gothic undertones. Female vocalist leader Linda-Li which seems like a live personification on Galadriel dazzles with her mesmerizing elvish chants and performing excellent melodic vocal sets that transport you to a reign of magic coldness and mysterious landscapes amidst ancient snowy woods illuminated by a gigantic crescent moon. “Found in the cold” has a certain similitude with previous album also released on Twilight Records but this time the mood of the album is less luminous and transparent, more gothic in a sense, prominently melancholic and obscure, very focused on atmospheric leanings set to let the listener in the coldness of their snow field visions. The additional elvish duo that accompanies Linda-Li is composed by Fredrick Klingswall, main composer and arranger evidently shows a meticulous dedication given to the keyboard arrangements and orchestral ornaments, Guillaume Le Huche plays the bass adding a special darkness influx , amplifying the somber tonality that the album presents. This is could be an excellent soundtrack for the perdition of the elvish reign in their exile from a world devastated by an ever increasing evil, or in reverse an analogy of the current times of human race.
Atmosphere is the centre where everything else circumvents this work, where instruments plays a crucial role in pursuit of this task, the fluent course within the tracks cleverly alternates cinematic passages generally conformed by this instrumental narrative that establishes an aural landscape full of mystery and dreamy textures along with sophisticated melodic arrangements anchored in neoclassical composition. The pieces evoke some influence from medieval folkloric tradition on the arrangements, mixing the ominous influx from the profane with the often sacred tonality from classical construction. Take for instance the elegant harpsichord harmonies that appear on “Like fire” permeating the track with a sense that lies in the camps of immortal eternity, in a medieval like cadence contrasting with the pastoral and equidistant coldness quality from the voice chant. Or the tragic sacral omniscience coming from the powerful organ tones on opener “Vacui” mixed with a subtle touch from tense martial rhythm and covered like an ethereal halo by the faerie like vocals from Linda-Li. This ominous organ appears also on “Imagine the palace of nothingness” and again displays this atmosphere of elevated spleen, a tragedy constructed on mystical elements while preserving a strange magical form that attracts the listener with its fluid course.
The keyboard and orchestrations preserve a delicate and sweet aura where organic texture becomes essential in the preservation of the magic synthesized, these effects never sounding out of key or suffer from synthetic flaws perceivable; this is why the listener ends floating in a majestic joint of vivid organic instrumentation like dream. The often dreamy, ethereal cadences and textures presented during the work are mainly created by rather simple but abundant instrumental effects such as the subtle notes of Glockenspiel seemingly evocating mesmerizing snow flakes falling, caressing lutes, sweet dulcimer, incidental piano melodies, complex gothic harpsichord arrangements, ethereal flutes, tense cello and subtle synth lines that enhance the instrumental mood. Some more complex passages alternate though amidst the vast array of instrumental apparitions also. The heightened delicacy from this work is simply incredible, the magic evoked, the clever and elegant composition surely locates the band as one authentic creator of magical aural narrative. Now the voice from Linda-li is cleverly taken advantage by not reducing her range and inflexion to just chants but also as an adhesion to the instrumentation, often sounding like an additional exotic instrumental element amongst the incredible array of other instrumental joints displayed through the body of sound from the work. Subtle distortions and effects were applied to her voice during the production reinforcing the notion of mythical and magical presence abundant in the sound from the work. When she sings the coldness suggested and the melancholic mood gets heightened by her magical presence, like a goddess from the ice, or like a gentle deathly character singing a lullaby to a moribund wanderer immersed in the cold winter from a deserted valley of snow. Nevertheless there is a sign of gracious life in the music even though the mood evoked is lonely and distant, perhaps this comes as product from the junction between the often vivid medieval folkloric incidences mixed with the general atmosphere of lifeless charm found during the course.
This is faerie music played deep inside the cold reigns where life weakly dwells but which beauty is astonishing. Authentically evocative music, elegantly poetic with a subtle paintbrush of death and dark magic that grants a characteristic delicate beauty to it and eerie sense on spiritual feel that will surely seduce the listener and will be able to submit him into his freeze embrace. The strange energy that the album displays conformed by its meticulous compositional value, finishes and enormous aural beauty equips them to face a more fantastic and sinister Dead can dance version where they act as deserved differentiated heirs. Track by track and piece by piece “Found in the cold” consolidates as a great album with strong character and solid musical construction with such a succulent finished line. Hurry up and buy it because it’s limited to just 500 copies. Recommended!
By: Jack The Ripper
From Chain DLK
4/5
Active since 1996 the Swedish band Rising Shadows are releasing for the Argentinian label Twilight Records their latest album titled FOUND IN THE COLD. Formed by Fredrik Klingwall (founding member, keyboard player and orchestrations composer), Linda-Li (she joined in 2004 on vocals) and Guillaume Le Huche (he joined in 2008 on bass), the band, with their second release is delivering a charming mix of fairy/dark atmospheres. In balance from neo-classical/goth melodies and instrumental compositions based on mysterious/dark ambient atmospheres played with synths and strings, the trio succeeded into reaching a great mix of the various elements. This capability make sound Rising Shadow's compositions sincere and inspired. Linda-li sings and vocalize enrapturing the listener and carrying him through the dark realms created by Fredrik and Guillaume. If you are into early Dead Can Dance but you are tired of lookalikes without personality, try this album.
Review by: Maurizio Pustianaz
N/R
Kiss the guitar goodbye and fall into soulful slumbers, where Fredrik Klingwall massages his organ, no pun intended beyond the obvious, Linda-li Dahlin sings up a dream, and Guillaume Le Huche moves like an owl through the sound on his bass. Together they have created a stunning album, wistful and winsome while offering cerebral caresses. Tomorrow I review Fredrik’s ‘Works Of Woe’ but for now consider this fine work.
‘Vacui’ makes for a wonderful opener as the grandiose organ and floaty vocals fall away, leaving dismal space, only for drums to boom in, the vocals and organ to rise, and you can almost feel your walls turning to cold stone. ‘Catharsis’ flutters into life so delicately like a distant reminder of Clannad’s Robin Hood record with vocals ascending as bells roll in and ring out. ‘The Leaving’ is the sweetest thing the Eves never recorded, strings like a musing harp, evocative vocals brightly teetering on an ethereal ledge.
‘Found In The Cold’ makes things a touch tenser as it fractures quickly with a sense of unease among the luscious singing, and a colder desolation grows through ‘Imagine The Place Of Nothingness’ although the music remains invigorating, like an orchestra out on creepy manoeuvres, the organ ushering in a vivid despondency. Further delicious tones keep ‘Like Fire’ positive and uplifting, then while ‘Fate Of Us All’ lies further back, the vocals and music are inextricably linked and quite lovely.
‘Through The Lingering Past’ is a tiny slice of trepidation, with ‘The Carriage’ mutating as you listen, a bassier feel undulating beneath the vibrating voice. Funereal organ makes itself comfortably at home in ‘Farewell’, ‘Nothing Left But The Memories’ spirals sadly away and as the cello blends with a sprinkling of synth ‘Return To The Winter Garden’ it eases us out with the feeling that all is well, despite the grieving, for this is an album which goes from birth to death, in storytelling essence, and thereby produces a well rounded feeling.
Really rather magical.
/Mick Mercer
From Gothronic
6,5/10
Opening with the melodic and dramatic “Vacui”, this slow going intro sets the tone for the remainder of the album. In “Cahtharsis” the vocals are sometimes completely of key, although is sounds as if this is caused by a overworked amplifier this really makes you want to skip to the next song. The third track on the album is more accessible and here the vocals of Linda-li are presented in a much better way, fortunately this can be said for the rest of the album. The contra-bass in the 5th song on the album is used to create a feeling of nothingness and depression, these slow low sounds really help the feel of the song. Although the music is well played the album only manages to surprise you again with “The carriage” which is the song with the most electronic influences on the album.
A good album from “Rising shadows”, although the mixing is not perfect in some cases. Due to a lack of variation the music slowly fades into the background, although it can be used for a deeply relaxing atmosphere for a night on the couch. All in all not a bad performance but certainly not a band that stands out of the crowd, or a name you will remember after you have heard one of their songs.
/Joost
From Darkroom Magazine
8/10
A poco più di un anno e mezzo dal debut "Falling Deep Within", da noi positivamente accolto, tornano quei Rising Shadows che abbiamo avuto l'onore di intervistare per la prima volta in assoluto, ennesima creatura dell'attivissimo artista svedese Fredrik Klingwall. Il duo composto dallo stesso Fredrik e da Linda-li Dahlin si allarga a trio con l'ingresso in formazione dell'ex-bassista dei Katatonia Guillaume Le Huche, il quale fornisce l'apporto del proprio strumento in forma distorta stando ben attento a non irrompere mai in maniera invasiva e/o eccessiva, bensì rendendo quel tanto che basta più ruvido ed oscuro il tipico sound mistico e sognante del progetto scandinavo. Con questa formazione allargata il suono dei Rising Shadows raggiunge nuove vette artistiche, mostrando netti segnali di crescita sotto ogni aspetto: dalla produzione (ora più corposa e ricca di sfumature) all'esecuzione (che evidenzia un nuovo livello di confidenza coi propri mezzi), passando inevitabilmente per un songwriting più maturo e completo. I punti di riferimento sono da individuarsi ancora nei Dead Can Dance e nell'affollato mondo di loro epigoni (ma le note ufficiali tengono a citare anche Morricone e Kate Bush), con un occhio di riguardo verso le sonorità neoclassiche: una formula già sfruttata da molti, ma che trova nei Rising Shadows degli interpreti senz'altro ammirevoli per dedizione, passione e sentimento. Ed in questo follow-up ogni cosa funziona molto bene: anzitutto la voce della brava Linda-li Dahlin, giunta a nuove vette espressive ed ormai totalmente a proprio agio all'interno delle trame elaborate dal mastermind Fredrik, e di conseguenza anche tutto il resto. I Nostri sanno esprimere solennità e senso del drammatico con estrema abilità, come dimostrano frangenti quali l'opener "Vacui", la soave "Fate Of Us All" e "Farewell", ma colpiscono nel segno anche e soprattutto quando sono le melodie magiche e sognanti a prevalere, come nel caso della varie "Catharsis", "Like Fire" e "Return To The Winter Garden". Spettacolare il trittico formato da "The Leaving", dalla title-track e da "Immagine The Place Of Nothingness", tra delicatezza, melodie incantate, maestosità e pregiati passaggi neoclassici di grande caratura, con la splendida voce della bionda cantante a condurre le danze, evocando scenari mistici ed antichi che trovano la propria dimensione in queste mirabili note ancestrali. Ottime anche le oscure melodie magiche di "Through The Lingering Past" ed i bei ritmi elettronici combinati al cupo neoclassicismo di "The Carriage", per un disco sicuramente breve, ma perfettamente bilanciato e praticamente privo di qualsivoglia cedimento. Un'opera che conferma le capacità di un gruppo dal quale era lecito attendersi quei passi in avanti che sono puntualmente arrivati: per tutti gli amanti delle sonorità neoclassiche, folk ed ancestrali quello dei Rising Shadows è sicuramente il nome da tenere maggiormente d'occhio fra quelli ancora in attesa di consacrazione, e non possiamo che accogliere positivamente un ritorno di siffatta caratura, degno preludio al definitivo salto di qualità che tutti ci aspettiamo dalla prossima uscita del trio.
Roberto Alessandro Filippozzi
From Obliveon
8,5/10
Rising Shadows ist ein weiteres musikalisches Projekt Fredrik Kingwalls, der neben seinem Solo-Projekt und seinem Mitwirken bei den ProgMetallern Loch Vostok noch Zeit gefunden hat, zusammen mit Sängerin Linda-Li und Bassist Guillaume Le Huche (ex-Katatonia) das nach „Falling Deep Within“ zweite Rising Shadows-Album einzuspielen. „Found In The Cold“ ist ein Album, das sich musikalisch in der Tradition von Heavenly Voices-Bands wie bsp. Claire Voyant bewegt und ein verträumte Atmosphäre erschafft. Dabei finden sich ruhige Passagen ebenso wieder, wie Parts, die von Soundtracks beeinflusst wurden oder auf folkloristischen Einflüssen beruhen. Das Album lebt von einer nicht wirklich greifbaren Atmosphäre, einer Dichte, in die man eintauchen kann, ohne sie wirklich zu fassen zu können. Konzeptionell beruht „Found In The Cold“ auf der Reise vom Leben in den Tod, und sie wird der musikalische Tenor im Verlauf des Albums nicht nur düsterer, sondern auch melancholischer und nachdenklicher, die Vergänglichkeit des irdischen Daseins reflektierend. Linda-Li besitzt eine angenehme Singstimme, die den wirklich wundervollen Stücken aus der Feder Fredriks erst ihre wahre Bestimmung verleihen. „Found In The Cold“ ist mit vierunddreissig Minuten leider ein wenig kurz ausgefallen, doch dafür überzeugt jedes einzelne Stück durch seine Perfektion und Detailverliebtheit. In grossartiges Album.
/MK
From Obskure
70%
On en parle bien peu, de la scène Heavenly. C’est un genre discret, prolifique, mais sévèrement underground malgré sa fréquente accessibilité. Pas difficile de comprendre pourquoi : les amateurs d’univers de fantasy souvent proposés par des groupes comme Narsilion et Trobar De Mort trouvent plutôt leur bonheur dans le Metal Symphonique, et s’aventurent bien peu hors de ces terres. Alors à qui se destine l’ethereal, cette immense vague peu visible, héritière des plus délicats poulains de l’écurie 4AD ? Ceux qui creusent le monde de la musique, qui ont envie de douceurs synthétiques, d’une invitation au rêve, d’une vulgarisation classique…
Quelque part entre Dead Can Dance, Persephone, This Mortal Coil et Stoa, les Rising Shadows proposent un second album plutôt habité, sensiblement orchestré, et qui ne devrait pas déplaire aux adeptes d’échappées néoclassiques synthétiques. A l’instar de Love Is Colder Than Death, la troupe assume parfaitement la sonorité inévitablement électronique de ses claviers, et n’hésite pas à faire appel au référent Darkwave ("The Carriage"). Nappes d’orgues ("Vacui", "Farewell"), chants éthérés, orchestrations pour cordes analogiques, Rising Shadows met à sa disposition tous les éléments archétypaux du style Heavenly pour développer un monde nocturne et froid, plein d’une rêverie souvent nonchalante, ponctuellement plus épique, en tout cas débarrassée des oripeaux les plus courants du genre, qu’ils soient religieux ou appels à la Fantasy.
Comme souvent dans le style, l’album offre un bon moment mais n’apporte ni la transcendance, ni la révélation. Found In The Cold est une pièce de qualité, au-delà de la démonstration scolaire – en témoignent des arrangements fourmillants et bien mis, clavecins et boîte à musique –, et constitue une invitation au voyage fort tentante au beau milieu d’une flopée de projets ambient/heavenly fréquemment ineptes. Il manque simplement une sorte de vérité, une urgence, une personnalité qui se distingue et qui se dresse comme une évidence dès les premiers instants ; bref, ce à quoi on a eu droit avec le dernier album de Persephone, ou encore celui d’Arcana. Néanmoins, il s’agit d’une belle sortie dans le genre, soignée, pleine d’élégance, et les amateurs sont invités à s’y intéresser.
By: Rosariüs
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FALLING DEEP WITHIN [2006] |
From Judas Kiss Magazine
N/R
Falling Deep Within is the debut album of Swedish neo-classical duo Rising Shadows. All music is composed and performed by Fredrik Klingwall, who contributed a track under his own name to the 2006 Cold Spring Records sampler Swarm, and vocals are courtesy of the rather babelicious Linda-li Wahlin. 16 short tracks occupy 33 minutes of playing time. After the dramatic gothic church organ and bass drum intro of ‘Vocalise’, ‘Embraced By The Shadows’ transports the listener to an ethereal realm of fairy enchantment, with lilting harp, orchestral strings, clarinet and chiming percussion providing the backdrop to Linda-li’s exquisite singing, which is very much in the tradition of such chanteuses as Kate Bush, Loreena McKennitt and Dead Can Dance’s Lisa Gerrard – abstract, often wordless chanting, conjuring a mood through sound rather than sense. Rising Shadows’ compositions are slight and fragmentary, brief glimpses into a magical otherworld, which dissolves into mist as you try to grasp or comprehend it. Musically, comparisons can be made to Dead Can Dance or Danny Elfman’s scores for Tim Burton films such as The Nightmare Before Christmas and Corpse Bride. The CD is released by Argentinian label Twilight Records, home to such well-known neo-classical and neo-folk acts as Camerata Mediolanense, Ataraxia, The Soil Bleeds Black, Cawatana and Kirlian Camera, so Rising Shadows find themselves in good company, on a label which should be sympathetic to their aesthetic approach. Falling Deep Within comes in a tasteful matt digipack with minimal information. Recommended for mystics, dreamers, hopeless romantics and changelings.
/Simon Collins
N/R
Almost at once a link is established with Fredrik Lingwall’s orchestral leanings, As ‘Vocalise’ is an ominous sliver of sound, but then we find ourselves led into the medieval meadow of ‘Embraced By The Shadows’ where the silky strands of Linda-li Dahlin’s vocals shimmer in the breeze, and all is delicacy. ‘Autumn Again’ is equally mellow but just a touch darker, ‘In The Winter Garden’ is another quiet, gentle stroll, all tranquil but full of intricate detail, while ‘Wine Of Nostalgia’ goes for the more plaintive, introspective mournful air.
‘Longing Spirit’ is even moodier, while slender, with catchy vocals creating a mini-swirl, ‘Wakefulness’ has a solitary feel, but there is no despondency just a cautious elegance. ‘Kiss Of Treachery And Absolution’ flits by, as does the understandably thoughtful ‘Death Comes To Us All.’ ‘Reverence And Remembrance’ has lighter flair, with the ethereal softness developing further through ‘Instill Serenity’ and ‘Things.’ ‘Falling Deep Within’ is close to stirring, ‘And Then She Was Gone’ discreet and swift, ‘Thus Passes Away The Glory Of The World’ is a sombre pool and ‘All Ends’ worthy of Kate Bush at her best.
A very dignified record then, mainly of one mood, but blissful in its own way.
From Darkroom Magazine
8/10
Fra i molti progetti portati avanti dal musicista svedese Fredrik Klingwall (Flagellation, Loch Vostok, Machinery ed Anima Morte, oltre al più importante progetto omonimo) ci sono anche i Rising Shadows (formatisi nel '96 col monicker Shadow Of The Concealed), i quali, dopo una manciata di demo-CD e l'ingresso in formazione della cantante Linda-li Dahlin (avvenuto nel 2004), giungono finalmente al debutto ufficiale sotto l'egida dell'argentina Twilight Records. Descritti dallo stesso Fredrik come un progetto dedito alla creazione di musica sognante e mistica, i Rising Shadows si rendono fautori di un sound delicato ed incantato che di sicuro troverà estimatori fra coloro i quali si sono già lasciati sedurre dalle sonorità di act quali Trobar De Morte, Narsilion, Angels Of Venice ed Autumn Tears. Nelle 16 brevi tracce che compongono questo debutto (alcune delle quali non arrivano ai 30 secondi di durata) i Rising Shadows delineano i contorni di un sound ancestrale costruito con grande pathos ed armonia, capace di evocare sensazioni perse nei secoli andati e scenari ricchi di poesia e sentimento. L'ingresso in formazione dell'eccellente singer Linda-li Dahlin si è rivelato il vero punto di svolta per l'intero progetto: la voce soave, angelica e melodiosa della bionda cantante svedese si fonde alla perfezione con le melodie dal sapore antico create sapientemente - per lo più attraverso il synth - dall'estroso Fredrik (fra i musicisti più interessanti dell'intero panorama scandinavo) per dar vita a brani di una delicatezza quasi impalpabile, ma capaci di solenni impennate sonore dal gusto raffinatissimo. "Falling Deep Within" è un lavoro che ha il grande pregio di suonare profondamente genuino, dimostrando come la passione del duo per queste sonorità sia autentica e mai mossa da quelle velleità commerciali che, talvolta, fanno capolino anche in ambiti di ultra-nicchia come quelli abbracciati in questa opera prima. Il grande trasporto emotivo che pervade ogni traccia del disco rende il lavoro dei Rising Shadows assolutamente degno di nota, e siamo certi che gli estimatori di queste sonorità sapranno apprezzare la profonda bellezza espressa dall'Arte di questa nuova, splendida e sorprendente realtà musicale. Un piccolo gioiello sonoro da scoprire e da amare profondamente.
/Roberto Alessandro Filippozzi
From metica.se
7/10
Rising Shadows är lika svenskt som en bakfylla på midsommardagen eller fenomenet sju pizzerior i valfri liten bonnhåla. Musiken på 'Falling Deep Within' förefaller dock inte ha mycket med färgerna gult och blått att göra. Om plattan hade kommit i ett helsvart fodral utan ledtrådar hade jag nog ramlat ner i fallgropen och gissat att duon härstammade från Portugal, Italien eller möjligtvis Spanien.
Rising Shadows skapar på denna debut förvånansvärt egensinnig musik och ligger närmare de sydeuropeiska kollegorna Dwelling, Ataraxia och Lupercalia än den svenska traditionen med mörk ambientmusik eller power electronics. Visserligen finns i Sverige Arcana som nog trots allt får anses ligga Rising Shadows närmast, men då Bjärgös mastodontprojekt är relativt ensamt i sitt slag i landet går det inte att prata om den typen av neoklassisk musik som en svensk företeelse.
"Flera spår tycks vara omgivna av änglar..."
Fredrik Klingwall och Linda-li Dahlin är dessutom mer nyskapande än så och Rising Shadows placeras inte med lätthet in i något musikaliskt fack. Det mörker de målar upp är snarare att betrakta som en del av en vacker solnedgång än det i en fuktig och instängd källare. Luftiga melodier och ljudet av klockor och mjuka pukor blandas med Linda-lis röst från himlen. Flera spår tycks vara omgivna av änglar och helheten blir en slags vintermusik som inte skulle vara helt opassande i en svartare dansföreställning.
I recensionen av Rising Shadows demoplatta 'Horror Vacui' knorrade jag över att längden på låtar som 'Sic Transit' och 'And then she was Gone' var onaturligt kort men på den fullängdare som 'Falling Deep Within' är passar det utmärkt. Produktionen är dessutom utomordentlig. Argentinska skivbolaget Twilight Records kan vara stolta över att få med sig Rising Shadows i sin spretiga utgivning som inkluderar ebm-bandet Vigilante, medeltidsinspirerade Camerata Mediolanense och intressanta Tempesta Noire som gör en egen form av neofolk.
Rising Shadows debutplatta är ingen tornado som sopar med sig allt i sin väg utan snarare en varm smekande sommarvind. Fredrik Klingwall är en förträfflig ljudkonstnär med både filmmusik och metal-kompositioner i sitt cv. 'Falling Deep Within' som delvis bryter ny mark utan att vara helt nyskapande är dock det mest intressanta jag hört av honom hittills.
Låttips: 'In the Winter Garden'
/Martin Engström
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HORROR VACUI (2004) |
From neurozine.com
7/10
Detta är en minst sagt svårlyssnad skiva, om du inte är insatt. Jag kanske inte lämnar mycket till fantasin, men lika bra att gå ut med detta faktum direkt. Är du inte mycket för så kallad Dark Ambient, kommer du att ha någorlunda svårt att sätta dig in. Musiken kan ha en poäng från en ren avslappningssynpunkt. Jag själv kan tycka sådan här musik kommer till sin fulla rätt i sällskap med ett parti rökelser och ett varmt bad och tillexempel inte direkt på en klubb. Man måste som sagt, med största säkerhet, vara relativt insatt för att kunna se storheten i sådan här musik.
Det mest positiva jag kan se med Rising shadows är att de verkligen går in i djupet av sin musik och försöker i alla fall att inte lämna någon oberörd. Det är dock som sagt svårt att påverka, när man spelar en så pass "smal" musik. Har man dock tycke för goth, kan man utan större svårigheter tycka om den här skivan.
Omslaget är väl genomarbetet och spelar verkligen på det fördolda i våra sinnen. Ett mörkt, stort träd sträcker sig över en grönaktig himmel, mystiskt, någon? Tvivlar inte en sekund på att många kommer att fastna för det yttre på denna CD, i alla fall till en början.
/Oskar Hardin
From metica.se
7/10
Fredrik Klingwall kopplade i mitten av nittiotalet in sina elektroniska maskiner och började komponera musik under namnet Shadow Of The Concealed men ändrade namnet till Rising Shadows i samband med utgivningen av första demokassetten.
Efter ytterligare demoinspelningar gick Rising Shadows under jorden, till viss del på grund av Klingwalls åtaganden i andra musikprojekt och arbetandet med filmmusik. Tillsammans med sångerskan Linda-li Dahlin såg i slutet av sommaren 2004 en ny demosingel vid namn 'Horror Vacui' dagens ljus.
Gjord helt på elektronisk väg men med vackra och proffsigt utförda ljud av organiska instrument är Rising Shadows alster inte helt olik landsmännen Arcana och Aardias musik, dock utan att falla i plagiatets smutsiga varggrop. Den pampiga ljudbilden komplett med pukor, vackra filmiska melodislingor och i vissa spår Linda-lis ljusa spröda stämma för tankarna till medeltid, borgar och fagra jungfrur.
De fem korta styckena är mellan trettio sekunder och drygt tre minuter och jag blir smått konfunderad över huruvida det är förkortade versioner som lyssnaren får tillfälle att njuta av eller om spåren är fulländade. Alla stycken funkar tveklöst i sin relativt korta spellängd men med så väl utarbetade melodier tycker jag gott att Klingwall kunde utöka dem ett par minuter till. Framför allt utsökta 'Autumn Again' som med ekande trummor och stilfulla melodislingor utgör toppen på demon. Eller Dead Can Dance-ekande och sagolikt vackra 'Sic Transit' med en blygsam längd av endast en minut. Korta men charmiga 'And then she was Gone' och jordnära 'Things' är även de värda ett omnämnande.
Vill man ha mer musik av herr Klingwall är det bara att slå sig ner i länstolen och påbörja en oviss väntan på plattan 'Entrance' som under namnet Fredrik Klingwall kommer att släppas på anrika Cold Spring Records någon gång under 2005.
Låttips: 'Autumn Again' och 'Sic Transit'.
/Martin Engström