Review: Louise Patricia Crane ‘Netherworld’
For all the albums I’ve covered since writing for The Sleeping Shaman, there have only really been a couple of times where I’ve been left at a loss with what to say. Not for any other reason than having taken a step out of my comfort zone, my treading water has become being up to my neck in it, and for fear of getting it wrong, I have tried to steer the conversation on to things I know about. Mostly it has worked out, once it didn’t, but I’m not here to split hairs, my job is to provide a review which hopefully will inspire, and engage in a way which is both helpful, and appreciated.
Approaching the new Louise Patricia Crane album Netherworld, comes with a certain trepidation. Such is the uniqueness of this opus, that to merely write it off as a proggy folk masterclass may well ruffle some feathers. Having no real prior knowledge of Louise, her body of work, or who she has played with previously, I had to do some digging, to find such a wealth of heritage as to previous companions, that it now makes complete sense where this journey would be leading me.
With Netherworld being Louise’s second solo outing and following on from 2020’s Deep Blue, I found the whole project somewhat of a revelation. The thing is, this isn’t just a case of her being a vocalist, who has assembled an entourage of musicians to help fill out the sound, this is so much bigger than that. Wherever possible, Louise has masterminded the whole affair with the help of one-time King Crimson guitarist Jakko M. Jakszyk co-producing, playing epic guitar flourishes and a host of other accompanying elements, the pair have taken the concepts and breathed life into them, in a way which is both spiritually uplifting and atmospherically weightless.
Over the course of the thirteen tracks we, the listeners, are whisked away to a fairytale realm, filled with mysticism and otherworldliness. This isn’t just an album of mere emotion; this is a tale of wonderment and evocation of the life force within. It is an hour of unadulterated, zen-like affirmation that there is still an untapped audience to reach out to, who will appreciate and love this progressive folk ambience and will embrace it with open arms.
There is a light to it all, and even on the moments where things get a little deeper, at no point is there ever a feeling of any sadness or upset. That being said, this isn’t purely thirteen tracks of similar compositions, some tracks make use of other instruments, and subtle signatures which keep things vibrant, while at the same time keeping it all very refreshing.
spiritually uplifting and atmospherically weightless…
Tracks such as album opener Dance With The Devil, The Red Room and Toil And Trouble cover the bases for the backbone of Louise’s signature sound, and the heady mix of soft, ethereal clean vocals, draped over the restrained drums and eclectic guitar really sets the scene. It does nod towards a Nordic feel, but truth be told, this hit me far more as a very European folk sound, as it doesn’t have that darker edge associated with the Norse counterparts.
Celestial Dust and Lady Peregrine’s Concubine tantalise us with additional instrumentation, not usually found in any modern music, and in doing so, transports us back to an incredibly vibrant ‘70s vibe. One such instrument is the flute, and I’ve mentioned it specifically because it appears on more than one track over the course of the album.
It is also epically used on Tiny Bard where the talents of Jethro Tull maestro Ian Anderson are utilised to devastating effect. Being raised by a dad who loves prog and especially the work of Ian Anderson/Jethro Tull, meant that as obscure as the reference is, I spotted the talent instantly, so points to the old man for educating me appropriately. In a time where modern artists are jumping to more and more extreme partners for collaboration, to utilise such an icon like Anderson and create such beautiful rhapsodies is genius.
At this point, to parallel the lighter tracks, I wanted to convey my highlights and those are namely Little Ghost In The Room and Long Kiss Goodnight. The former, as it houses a moodier tone, not really seen elsewhere on the album, and the latter because of several reasons; there is a bluesier feel here, which, with the inclusion of a dynamic slide guitar throughout, lifts it to the next level for me. It also has a Tori Amos vibe vocally, which I didn’t pick up on elsewhere.
All in all, the album has an eclectic calm, the likes of which I don’t recall having found elsewhere recently. Coming away from it, I have a newfound love for this prog-twinged folk, a genre I hadn’t explored before, but one I will probably be more aware of going on from this wonderful experience.
Label: Peculiar Doll Records
Band Links: Facebook | Bandcamp | Spotify | Instagram
