Genre: Bombastic Orchestral / Neoclassical

Gaë Bolg and the Church of Fand have been courting listeners since the bands debut release “John Barley Corn Must Die.” After “John Barley Corn Must Die” broke upon the scene some years ago Gaë Bolg and the Church of Fand has become a highly collectable and desired bands amidst bombastic music lovers. Following their debut release which sold out rather quickly Gaë Bolg continued their mission releasing several more releases all of which where snatched up quickly by eager fans leaving many to have to turn to EBay and other options to secure these limited edition titles. After two full length albums, a vinyl only release, a handful of compilations appearances and a number of albums that have now been repressed on CD Gaë Bolg and the Church of Fand return with their third full length album titled ““Aucassin et Nicolette”.”

“Aucassin et Nicolette” is self described as Gaë Bolg and the Church of Fand’s most personal and insightful release to date. Staying true to their medieval sensibilities Gaë Bolg and the Church of Fand has created a beautiful album inspired by the French novelette titled “Aucassin et Nicolette” which was written in 1225. The original “Aucassin et Nicolette” was the first published version of a prosimetron to appear in French literary history. For those out of the literature loop a prosimetron is a literary work that combines prose and verse. Gaë Bolg and the Church of Fand chose “Aucassin et Nicolette” for inspiration due to the books story which recounts a tale of love and struggle between lovers of differing class and status. “Aucassin et Nicolette” tells the tale of the son of a French count and a slave girl whom he falls in love with. The royal court and the Count oppose the lovers union and they must battle against adversaries and adversity to realize their union. During the story it is revealed that the slave girl is actually a Moorish princess abducted at birth. Though I have not read the book nor do I speak French it is worth note that the story is said to be filled with irony which adds relevance to Gaë Bolg choosing it for inspiration.

Though Gaë Bolg’s previous material has predominately been reinterpreted medieval songs and texts what makes this album so different from previous albums is the focus upon a single source and the shift in the sound of Gaë Bolg’s music. Gaë Bolg has relaxed the emphasis on every song being a bombastic anthem and has incorporated softer moments and compositions into the album which lends “Aucassin et Nicolette” a wider range of sound and emotion than previous albums. But do not fear there are plenty of strong bombastic explosions of glorious music to hold you over between the softer elements in the album.

“Aucassin et Nicolette” begins with the introductory song titled “Prelude.” “Prelude opens with gentle inspirational chimes looped into a rhythmic pattern and lively acoustic guitar. These elements are complimented by somber toned brass horns that lend a sense of foreboding to the lighter sounds of the guitar and chimes. Flute enters the song with an airy and uplifting tune that leads the song forward through the gathering darkness. A female voice sings over the music in a semi-operatic style and is joined by backing male vocals. The tone of the vocals is in step with the dire sound of the horns. As the song blossoms it sounds as if an oboe is added adding a deep resonating wind sound. The song surges forward like a storm coming upon the listener. The lighter elements are swallowed by the surging force of the vocals, oboe, and horns leaving the listener with a sense of impending doom manifesting.

Track six titled “Sur les Bords de l'Ille” is an excellent example of the emerging lighter tone in this new album. “Sur les Bords de l'Ille” is all but devoid of pounding drums and blaring horns and rather it is composed with guitar, flute and voice. The song begins with strummed guitar and Eric Rogers’ faithful voice singing strongly in French. After a brief introduction the music explodes with multiple guitars and various vocals layered together. The music and vocals are dense yet retain their expressiveness and passion. Throughout the song the vocals and instrumentation relax at intervals to tell the narrative then intermittently the chorus returns in an explosion of singing, flute and guitar. Most notably is the lack of drums and horns which have so defined previous Gaë Bolg releases. Rather than pining for these missing elements the listener is actually just as moved and elevated by Eric’s beautiful voice and the new combination of instrumentation. There is no focus on what is missing but rather an engrossing enjoyment of what has emerged.

Track 12 titled “Ballade” is one of the real highlights on the “Aucassin et Nicolette” album. “Ballade seamlessly brings together the successful sound of previous albums with the more open sound Gaë Bolg aims for on “Aucassin et Nicolette”. “Ballade” begins with an anxious string arrangement that is crisp and perfectly executed. The strings are joined by an electric bass guitar whose rumbling chords add a sinister tone to the already tense song. Eric Roger’s expert trumpet playing is applied over the strings and the bass guitar adding an uplifting layer of sound. Eric sings solo and unobstructed over the music. His voice excels at topping off the song. Flute and chime come in briefly in interludes then the music returns to the ever seductive trumpet playing as Eric’s vocals retreat. This is Gaë Bolg and the Church of Fand at their best. “Ballade” encapsulates all the prominent elements of Gaë Bolg as it gathers together Eric’s powerful voice, amazing trumpeting, and lush neoclassical instrumentation. These elements are constructed in a flawless balance of sound that exudes sensuality and romanticism like only Gaë Bolg and the Church of Fand can produce.

When I first received “Aucassin et Nicolette” for review and played the album I was instantly struck by the differences between “Aucassin et Nicolette” and previous albums. And to be honest I initially had concerns as to whether I could follow Gaë Bolg on this new musical journey. I had to take a deep breathe and realize that I did not want to become one of those people who hold an artist to their previous work or measure their accomplishments against past conquests. After this relaxation of my expectations I gave the album sub sequential listening. With each listening the new and expanded sound grew upon me until I had overcome my attachment to previous albums and fully embraced the bands current explorations. Now upon listening to previous albums I have a hard time not looking despairingly upon them in comparison to what Gaë Bolg and the Church of Fand has achieved with “Aucassin et Nicolette”. “Aucassin et Nicolette” is an amazing album and I hope it has a rippling effect across the bombastic music arena and helps influence other artists to step outside self imposed parameters and explore their own sound. I applaud Gaë Bolg and The Church of Fand on an amazing album and for having the courage to challenge their previous accomplishments.