We announce the release of 'Lament of a Forgotten God' the debut album from Llunstorcarnay - the collaboration between Seren Ffordd (UK) and Gliese 614 (UK).
Lament of a Forgotten God is inspired by the ancient poems such as the Song of Taliesyn and was recorded between August 2008 - March 2010. The album developed a life of it’s own, not quite going where we had intended but drawing us into it’s own sounds and direction - we are pleased at having given it a voice.
Llunstorcarnay is a collaboration of two artists, Seren Ffordd and Gliese 614. The album "Lament Of A Forgotten God" was inspired by ancient works such as the Welsh poem the Song Of Taliesyn, but also (as noted in the atmospheric artwork) by the wild places of nature and by those ancient cultures whose stories were set in such environments.
The album is arranged into three tracks, one of ten minutes, one of twenty and one of thirty. Electronically distorted voices open the album, before ambient drones and washes emerge from the soundscape. As with the work of the individual artists - notably the recently reviewed "Serenty" by Gliese 614 and Seren Ffordd's "Calling" - this is ambient music with little hint of beats and none of melody. The change in tones and textures is small, slow, reflecting gradual change in the environments the artists seek to evoke. In this opening track the timbres hint at harsh places, with metallic tones overlaying bass drones and washes.
The second track opens with another distorted voice, before lighter, almost airy timbres emerge, hinting at lighter, brighter environments - perhaps atop cliffs or near water. Deeply reverberated sounds and tones suggest prehistoric gorges like those of the Dordogne in France. After a while the sounds increase in volume and complexity, some of them changing from bass to treble registers while maintaining the same timbre; the technique is used again at the end of the piece. This track is a good example of how apparently simple sounds, well chosen, can have a large cumulative effect.
The third track opens, as before, with distorted voices, before moving on into a more modern-sounding section that uses vocal-based pads and ringing, almost bell-like tones to present an aura of tranquility. Then the work mutates into less recognisable sounds and effects, before, after five minutes or so, a white noise rhythm overlaid with swirling synth tones begins. It's effective and atmospheric, but soon gone. As the track evolves new tones and timbres are brought in, reminding me of some of Klaus Schulze's work of the late 'seventies. The ending of the track is in the style of the opening; this track is for me the best of the three, not least because it has all the time it needs to evolve.
A very good album that listeners of ambient artists should check out.