White Willow: Storm Season

The fourth release from Norway's White Willow sees the band veer a bit from the warm pastoral nature of previous albums Ignis Fatuus, Ex Tenebris, and Sacrament, to a darker, heavier direction. Layers of crunchy guitar riffs, analog keyboards (Hammond organ, mini-moog, Mellotron, Fender Rhodes, Wurlitzer, piano) flute, cello, and the stunning female vocals of Sylvia Erichsen permeate the CD's seven songs, adding a new element to the White Willow cannon. While this new direction will no doubt win the band many new fans, it might alientate some of the older fans who clamor for the more acoustic and folk based sounds of the first three albums. One thing that has not changed though is the stark and brooding nature of the bands songwriting. One quick look at the haunting cover painting should be enough of a hint to realize that White Willow's penchant for creating dark lyrical imagery is still intact, imagery that is a staple of the bands style and sound.

It becomes quickly apparent that perhaps the introduction of a few new members has given the band a real kick in the butt. The opening song "Chemical Sunset", is a raging number littered with Mellotron, synths, and crashing guitar riffs, showing a band that has renwed power and vitality. The same can be said for "Sally Left", a moody and atmospheric prog-rocker that is highlighted by ominous Mellotron, haunting vocals, and a searing slide guitar solo that will instantly remind you of the work of Pink Floyd's David Gilmour. "Endless Science" harkens back to the bands folk leanings, with Erichsen's wispy and quirky vocals soaring over lush acoustic guitars & cello. The real surpise comes in the form of "Soulburn", a churning, boiling maelstrom of dark prog-rock that slowly builds in intensity and covers a wide range of moods and textures. Opening with heavy, doomy guitar riffs and Hammond, the song ebbs and flows through some mellower sections that sees male and female vocals go from spoken whisper to more aggressive passages. Instruments like the piano and cello do battle with electric guitars, Hammond, and Mellotron here, as the song just builds and builds in great dramatic fashion. Erichsen turns in another strong performance on "Insomnia", a real melodic number that features some intricate rhythms from drummer Aage Moltke Schou and bassist Marthe Berger Walthinsen, as well as waves of haunting Mellotron & Hammond. The guitar work of Jacob Holm-Lupo and Johannes Sæbøe is very impressive throughout Storm Season, as they mesh heavy, plodding riffs with intricate lead passages and deft acoustic elements to great effect. This is especially evident on the bombastic closing piece "Nightside of Eden", a tumultuous rocker firmly in the Anekdoten, Landberk, or Opeth tradition, complete with thunderous guitar riffs, powerful vocals, and layers of keyboards. Check out the amazing Hammond organ solo from Lars Fredrik Frøislie, which then gives way to a melodic scorcher from Sæbøe, who then turns it back to Frøislie for a brief break on the mini-moog. Things then get pastoral with some Genesis -like acoustic interludes before the heavy riffs come crashing back into the mix backed by chilling Mellotron.

With Storm Season, White Willow has without a doubt created their most powerful statement, and perhaps the defining moment of their still young career. While the band has taken steps to evolve their music to a heavier and more symphonic direction, many of the familiar characteristics still remain, helping to make Storm Season a classic dark progressive rock album, and one that will surely be on many "Best of 2004" lists.

Track Listing:

1. Chemical Sunset (7:58)
2. Sally Left (6:33)
3. Endless Science (3:36)
4. Soulburn (9:21)
5. Insomnia (5:49)
6. Storm Season (4:21)
7. Nightside of Eden (9:44)

Added: April 21st 2007
Reviewer: Pete Pardo
Score:
Related Link: White Willow Website
Hits: 7397
Language: english

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