Released
1997
Label
Prikosnovénie
Reviewed by
Michael C. Lund
Contact
5, rue Désiré Colombe
44100 Nantes
France
Visit
Last Edit/Update
19 juli, 1998
XVII° Vie
LLEWELLA
Track Listing
1. Flux
2. La Valse Des Korrigans
3. Repetissa
4. Serena
5. L'Enchanteresse
6. Mana
7. Phalene
8. Anaka
9. Llewella
10. Cybel
11. La Marche Vers Broceliande
12. Reflux
The French label Prikosnovénie has within its relatively brief existence
already produced a rich and diverse catalogue of releases that is divided into several
categories: Lytch (trip-hop and ambient music); Strange Rock; Collection
Miniature (an ongoing series of budget priced CD-EPs) and Iris (dedicated to
female voices). XVII° Vie falls under the latter category, and is --
with three albums and one miniature since 1995 -- Prikosnovénie's most
prolific act.
Consisting of Karin
(vocals and percussion), Anastasia (violin) and Franck (guitar,
percussion and keyboards), XVII° Vie create exceptionally beautiful,
classically inspired music of minimalist design. The quality of their sound is refined --
almost fragile, strongly feminine, and often melancholy. Llewella is their latest
CD, and it is a glimpse into a fairy tale past that evokes feelings and moods of longing,
romance, mystique and the eternal. Most of the songs are centered around the operatic
vocals of Karin, with guitar and violin themes swirling around her, percussions
that build in prominence and intensity throughout the album, and synths occasionally used
as an underlying presence.
Llewella follows a circular
design, opening and closing with aural impressions of the sea, and -- although I am
unfortunately unable to understand Karin's French vocals -- the album seems to
tell a story, even on the strictly musical level. Certainly, the feel and mood of the
individual compositions change as the album progresses.
Initially -- on "La Valse des
Korrigans," "Repetissa" and "Serena" -- the arrangements are very
sparse, serene and porcelain-like, expressing a strong sense of innocence and solitude,
with Karin's vocals simultaneously brimming with girlish joy and longing. On
"L'enchanteresse" and "Mana," the instrumentation becomes richer, and
drums become a stronger part of the sound picture -- the 'longing' appears to be taking
over. An element of foreboding creeps into the arrangements of "Phalene" and
"Anaka," while Karin's vocals assume a more assertive and mature feel.
The title song "Llewella" is the most laden and intense, with vocals that are
very strong and willful -- elements of "Flux" return, giving the impression of Karin
yelling out against the sea itself. "Cybel" and "La Marche Vers
Broceliande" arrive at a new state of serenity, but while the general mood is one of
triumph, there is also a subdued undercurrent of melancholy that suggest the birth of a
new longing, or a loss of innocence. The CD ends with "Reflux" -- another
impression of the sea, but one dominated by the rushing sound of crashing waves. Karin
returns at the very end with a brief whispered coda that ends in the ominous breaking of a
thunderstorm.
Karin's voice is the
undisputed protagonist throughout Llewella, but her vocals are accentuated, and at
times countered, by the violin and guitar, which are the main instrumental presences. The
themes of the guitar and violin appear at times to be engaged in a playful rivalry, and at
other times to be paying court to each other. In the later songs, the percussions become
more prominent and powerful, heightening the intensity of the arrangements, and supporting
Karin's vocals -- almost as if they were her pulse, racing faster towards the end
of the album.
Llewella is both a very
pleasant CD to listen to; and one that is cleverly arranged, and executed with great vocal
and instrumental virtuosity. This is an album that will please those carrying a romantic
heart within their chests, and all those worshipping heavenly voices.
