ANGELWING

the Nymphaeum

Exzel Music Co. (2001)

review by Bill Binkelman

Some albums are virtually impossible to categorize simply because the music is so varied and unique. Such is the case with the Nymphaeum from the trio known as Angelwing. If I was hard-pressed to do so, I'd label it "new age folk" (there are two true vocal cuts on the CD) with elements of neo-chamber music and possibly English progressive textures.

Angelwing is (primarily) Rick Costello (acoustic and electric guitars), Reenie Varga (vocals) and Erin Hawkins (cello and vocals). They are assisted by various musicians (of particular note is Gary Strausbaugh's excellent work on piano and keyboards). Other additional instruments include electric guitar, electric fretless bass and percussion. The sound on most cuts is so "full" (not in a crowded sense but in a Phil Spector vein) that "noticing" individual instruments can be difficult. Besides, this album is much more about the "whole" than the parts. That said, though, Reenie's vocals are sublime, especially on the opening track, "Radical Seed." Her voice is like a cross between Joni Mitchell (from her earlier days, e.g. Ladies of the Canyon) and someone else whom I can't place. The music itself is delicate yet filled with a sense of wonder and awe and a touch of melancholy. I'm the last person you want evaluating your lyrical content, so I'll only state that the lyrics are evocative and mythic, if not even poetic and they deal with the nature of womanhood and mother earth spirituality - I think!

The second through fifth songs are parts I through V of the title track (track 2 has two parts to it by itself). Track 2 (subtitled "a guitar duet," followed by "the orchestral theme") is special. Gentle bell tones, swirling synths and lush synth strings, plaintive guitar, piano and cello are combined in a ghostly and beautiful tone poem. The music is suffused with a sadness that is inescapable to my ears. The song picks up speed a little as it progresses when the guitar starts to dominate and is joined by what sounds like a mellotron and/or vintage-era synths (there's that English prog connection I alluded to earlier). As the track moves forward, more orchestral elements are introduced in a neo-chamber music sound - absolutely lovely to hear. Piano takes the lead toward the end.

"the Nymphaeum Part III" is "an acoustic guitar theme" graced with lovely accompanying synth work as well as church-like bells and other quasi-ambient textures. "Part IV" is a more-spirited reprise of assorted musical themes from earlier parts, featuring whimsical synth work, bowed string orchestral sections, bell-tones, and passionate guitar playing. "the Nymphaeum" suite ends with the "piano theme," which is probably the least successful segment although it's still a dramatic and interesting piece of music, thanks to hushed wordless vocals from Reenie.

My favorite track on the album is "What a beautiful Sunset!" and it is beautiful at that! Kinda adult contemporary, kinda jazzy, kinda new agey - probably an apt comparison is to the gone-but-not forgotten instrumental duo Val Gardena. The cut has the same breeziness and catchy melodic sensibility. Piano and bell-like keyboards along with some other more spacy effects are eventually folded into percussive elements and drums. The track ends in dramatic fashion (barely whispered indecipherable sexy spoken words by Reenie adds a cool element to the song as well and the vocalizing becomes a very pronounced jazz-like wordless singing by the end).

There is another pure vocal song from Reenie on the album ("Tears of Joy") as well as another instrumental number ("The Calling," featuring acoustic guitar and cello in a soft duet as well as wordless vocals by Erin). The recording ends with two special "radio" mixes (one of "Radical Seed" and one of "What a beautiful Sunset!")

At the end of it all, I recommend the Nymphaeum, but I don't know who to send this "thumbs out" to, exactly. I suppose the best listener group to pitch this album to are fans of acoustic guitar-led progressive folk/rock fusion music (if such a genre exists). Seldom have I heard lyric/vocal songs blended this well into the instrumental "flow" of an album as the two tracks do here. So, don't be put off by that element. The production and engineering of the CD is also excellent. All the artists and singers do a wonderful job. And the songs themselves (two written by Rick Costello, one by Gary Strausbaugh - who plays keyboards, one by Reenie Varga and one co-written by Varga and Mickey Wargo) are both accessible and (many times) genuinely beautiful. Hopefully, this hard-to-define yet inspired and accomplished recording will find an appreciative audience - it sure deserves one.