Widdershins to the Way of the World
Running time: 0:31:04
Widdershins to the Way of the World - 31:04
Trips to the Great Smoke (London) are always interesting and amusing. Today we were on our way to the Temple Church to book tickets for an evening concert. The church itself, which featured in the film the Da Vince Code, would, in a few weeks time, be decked out in Gothic style for a showing of the original Nosferatu silent film to which a classical organist was going to improvise. All in candlelight! We were of course caught up with the commuter rush, or to use a Peter Gabriel phrase, the "Grand Parade of Lifeless Packaging". on their way to work in the city. And this is what inspired this CD, the City. The City is not to be confused with London itself. The City is something else. The financial and political powers that run the world reside here in the "Golden Mile". The City is a place of darkness, plague and fire. It is a law unto itself. There are other places like it and probably equally as corrupt, like the Vatican City perhaps. As I watched the people flood down the escalators into the Underground, I felt at ease with myself, possibly even smug, which I have no right to feel, compassion might have been a better emotion. But I did feel I was walking counter-clockwise to it all. Widdershins-against the sun. And yet, despite what I might feel about working in the City, I also like it here. We turned off the Strand and Fleet St, the former home of a certain demon barber, Sweeney Todd, who is currently enjoying a comeback thanks to Johnny Depp, and into the labyrinth of buildings where the old money resides and the Temple Church is situated. I acknowledged the statue of the two Knights Templar riding their horse and look at the church of St Mary. I am a Knight of a Dark Grail, a prodigal returning home.
The following is a review of this EP by Dave Law of Synth Music Direct.
What a beautiful shimmering start. This is far away from 'Kirkwood the dark', just gorgeous dreamy wonderfully relaxed and blissed out stuff. Of course it can't stay that way for long. Strange animal noises can just be heard, then a bass pulse followed by a slow twangy sequence. Brooding moody stuff. The subtlest of melodic motifs is repeated low in the mix, gradually rising as the melancholy increases. A slow lead, again almost bestial, wails its mournful message. A more conventional soothing melody replies. More little melodies and tinkling sequences arrive but somehow things don't become too cluttered and the delicate atmosphere remains. Behind all this is a quite complex track meaning that it can be listened to many times without losing its interest. You can analyse all that is going on as much as you like however but it is probably better just to switch off and let the music take you where it will, which in my experience has been a different journey each time. In the twelfth minute it is all change as a great big gargantuan bass sequence steamrollers forth accompanied by mellotron. Another even faster sequence sprays notes amongst the rumbling pulsation. A blistered lead flashes towards the Heavens. Then, as if we had been hit by a swift but ferocious storm, all starts to calm down, though the sequences still tinkle away. This is only a momentary reprieve however, the eye of the storm I suppose, as things soon take off again, continuing on the same destructive path. Fresh sequences emerge in the twenty-second minute, changing the mood substantially to one of awe and wonder. All sequences then depart to be replaced by a steady relaxed rhythm which itself fades away leaving us with angelic wordless sighing pads. As with much of Jim's work however there is a twist, a sort of uneasy dark edge which lives side by side with beauty and wonder. The dark and light sides to the same coin as it were. (DL)