EX TENEBRIS

I don't see the big hoopla about this second album as I find this tedious, monotonous and pointless, although this appears to be of some quality, in some sort of artistic way. This second effort is clearly a down step from their promising debut album, but their folk-tinged prog never really gets nervous, inspired or even engaged. I must say, I got rid of this album after having tried around ten times, and it still was not getting my attention; how hard should a listener try? If he does not after so many try, than the problem is with the record, would you not say?

Even in concert with two good looking girls, I was not captivated to say the least. Maybe best avoided as an introduction to Whit Willow, you might want to start with the debut or Sacrament.

Excellent modern neoprog classic rock with loads of organ/ mellotron, bass pedals and excellent vocal harmonies. "Ex Tenebris" explores a dark yet positive progressive rock with some excellent song writing and musicianship. "Ex Tenebris" is very a difficult album to peg down but carries with it strong Folk leanings and is very symphonic all the way round. WHITE WILLOW do not deliver a very synthetic or synthesized sound instead focus on a very true sound with few overdubs. Their music sounds very original and not simply stolen or fabricated from others. Songs are highly thought out and carry a very original musical charm taking in the grandeur of PINK FLOYD with the power of KING CRIMSON. The Lasers Edge have a great release here and I am sure most prog heads would love this album.

It's a very dark work, similar to some music episodes composed by another Scandinavian band "ANEKDOTEN" but - unlike these latter - they are more in an "experimental folk-prog" vein. Their debut album was more personal and also more structured too, nevertheless you find here some very interesting music features from Scandinavia and its "dark" northern folklore.

Recommended if you love this particular genre.

I'm really impressed with 'Ex Tenebris", my only complaint would be the recording...it could have been better. This to me personally is their best album based on material, the other two albums "Sacrament" and "Ingnus Fatuus" are two really good albums which holds some beauty of another kind. With "Sacrament" you'll find that the recording is well executed. The album is quite dark and gothic, but to the people who see that as a negative; a strong mark of romanticism and hope are also evident which makes this a beautiful piece with strong emotive qualities. If it were up to me personally with the rating, I'd score it a 5, but considering prog. fans and the recording I'd have to give it a 4. Somewhere I saw this review, his words were: " If you take 'mellowness' as 'borring' then White Willow is not for you; if you do not hold that view then I recommend that you get your hands on this album and the other two, the chances are you'll enjoy. Oh and their new album will be coming around soon, so I'm really looking forward, I hear it's going to be more heavy on the side , so it would be interesting to see with what they can come up with.

3,5 stars really!

WW's second album is their most quiet and mellow one and at least in parts with fewer elements of medieval folk. Instrumentation is less extensive than on their debut and mainly acoustic with many vocal parts, fortunately mainly by the female vocalists who sound much better than Jan Tariq Rahman on the first two songs.

First highlight is the song Soteriology, a very melancholic, almost pastoral one, starting with acoustic guitar and piano followed by organ sound accompanied by Sylvia Erichsen's beautiful voice. Helen and Simon Magus starts very mellow again, then one of the few electric guitar parts of the album and another mellow part with spoken words. Last track A Dance of Shadows is the longest track in mainly very sluggish tempo with powerful mellotron sound, another part with electric guitar, Sylvia Erichsen's wonderful vocals and a quite surprising fading out at the end.

As a SUMMARY I have to say that though Ex Tenebris is their least spectacular album, it's still a very good one. Best songs I think are "Soteriology", "Helen and Simon Magus" and "A Dance of Shadows". If vocals would be provided throughout by the two girls, it would probably be worth of 4 stars. Anyway I'd add half star extra if possible and recommend it to those fellows whoare more into melancholic and sluggish type of music.

White Willow's second album is very different from than the previouso one, it's less folk IMO, but it still manages to provide the listener with a fair share of music! The singers (a male and a female) sing nicely. In my opinion, this band plays NO folk music, it's certainly dark and melancholic in its own unique way. I would call it neither symphonic progressive rock nor folk progressive rock, however, I consider this ART ROCK, I haven't realized the right defintion of art rock, but it certainly suits this category IMO. In short, this is a really nice album, but it's certainly not essential as some classics. As Lethe likes to say : Make your choice, although I really dig it.

First ao all I would like to say that this is very well controlled album. The musicians don't tumble down to meaningles gimmicks. This is maelancholic yes but not at all boring. Instead the melodies are beautiful in such a manner that they are constantly interesting. The voices of jan, sylvia and asa are all enjoyable as are the spoken words of teresa in "Helen & Simon magus" which for me is the high pointy of this album. Some have been dissapointed in the recording sound but I find there no reasons for complaints. I have been wondering what might be the problem and only suggestion is that there are a lot of low background sounds here and if your equpment is not up to handling them they might cause some disturbance. But if you listen to for example 3.rd piece "sotcriology" in the beginning there is a acustic guitar and piano well placed on the soundstage and when the second acoustic guitar appears it finds a perfect place on the other side of the piano. You can clearly hear the fingers movin on the finger board. As Sylvia starts singing on the right side there is a high feeling of presence and her voice is intimate. There is both mouth and chest in the sound. I don't find a problem in the recording.

I should give this a five star so that it would climbe up to the position it deserves: three and somethig is absolutely too little. But the the last song is not quite as good as the rest so four stars must be enough. Anyway a fine album!

Ex-Tenebris is the second album from Norwegian band White Willow, and thankfully this release sidesteps the all to easy path of re-hashing the what was done on the debut album. Ex-Tenebris quite quickly shows its differences to its predecessor, Ignis Fatuus, before the end of the opening song, Leaving The House Of Thanatos.

Whereas the debut had a very lush sound built up from the guitars, bass, mellotron, drums, string and wind instruments all playing together, this follow up has a much more striped down, almost minimalist in places, sound to it. There is quite often long passages were there is only one or two instruments playing at a time, sometimes with the vocals as well. Though the album continues the nicely relaxing feel that marked out Ignis Fatuus so well to me, Ex-tenebrous does it in a completely different manner.

Part of the reason for the change is that the line up of musicians here is almost completely different with Jacob C. Holm-Lupo and Jan Tarig Rahman as the only two musicians to still be involved in White Willow since Ignis Fatuus (at least on this recording), though flutist Audun Kjus still has a couple of token parts on a couple of tracks here. Indeed the line-up seems much more stable on this album, it doesn't have legions of people playing on it giving it more of a feel that it's a band (the drummer seems to have a name this time as well, Anglagard's Mattias Olsson!). I also find that the production work on this album is much sharper here, each instrument is much more clearly defined in the sound of the band something that, though not a problem or a draw back, might have needed a little work on Ignis Fatuus.

Despite the initial perception that we could be in for something quite special, there are parts that really let this album down. With the exception of A Strange Procession. all the short songs give the feeling that they are recordings of church choir Christmas carols to me, though without any religious pretext in the lyrics. These short songs also seem to be trying to do the same as the long ones but without actually going anywhere. I guess they are a sort of minimalist equivalent to noodling and I find them quite annoying.

The longer songs here (Leaving The House Of Thanatos, Helen And Simon Magus and .A Dance Of Shadows) are all really nice songs similar in style to Cryptomenysis and John Dee's Lament, though containing the unique feel of the album. They all seem to build up to varying degrees of intensity and you cant help but get lost in the sheer beauty of the music.

I feel that the level of musicianship has improved here as well, growing much more focused than on the previous album helping with the atmosphere. You wont find any high speed performances or bombastic soloing/riffing, instead its in the subtlety that really puts the focus on certain parts that grabs you. Vocally this band has stepped up as well. Jan Tarig Rahman's voice sounds much smother on this album and I find that to be a big improvement from him, but I doubt I could listen to a whole album of him singing. Thankfully it's the new vocalist, Sylvia Erichsen, that takes the credit for most of the vocals from Soteriology onwards. She has a really nice, smooth voice that really helps the relaxing atmosphere of the album but she never sounds like she is pushing her abilities, though its hard to say whether that would actually be an improvement as Erichsens voice fits in really well. The drumming on this album is really hard to notice as their isn't much of it here, but what there is works well with the mood of the music, there's just not enough of it, though, to say moor. Special mention should go to Teresa Aslanian who reads a poem at the end of Helen And Simon Magus, her rich voice and the fact that its spoken word gives this song a unique send off.

I previously mentioned that A Strange Procession. was the only short song on here that I liked, the reasons for this are two fold. First is that it is such a unique track here, it has a really dark and oppressive feel to it that it immediately stands out on this album, but doesn't wreck the overall feel. The second is that it feeds in well to the albums epic, and closer, .A Dance Of Shadows almost making it one great 19 minute epic, though not quite as they are still separate tracks.

I'll give this album 3 stars as, though it contains some truly brilliant songs, most of the shorter tracks don't do anything for me. I also find that I couldn't listen to this album too much due to the striped down nature of the sound. True, it does help to enhance the relaxed nature of this album but there are times when I would want more to be going on, which means that I prefer Ignis Fatuus. Not a bad album by any stretch of the imagination but could have been better.

Man, this is a tough one to get into. "Ex Tenebris" apparently is Latin for "From out of the darkness". And this is a dark, bleak and experimental album. Now i'm into dark music, but experimental ? Not so much. Also, there is so much slow paced, acoustic music , with little in the way of outbreaks. On a positive note we have none other than Mattias Olsson from ANGLAGARD on percussion and drums. And also we have mellotron on every track.

"Leaving The House Of Thanatos" is a song I like, opening with acoustic guitar, keys and male vocals, followed by mellotron and drums. Female vocals are added and organ.This is a nice slow paced tune with some soaring guitar towards the end. The next two songs "The Book Of Love" and "Soteriology" are both ok, mainly acoustic songs.

"Helen And Simon Magus" actually has an outbreak of guitar and organ. Earlier in the song we are treated to a good guitar melody. "Thirteen Days" is a short, slow acoustic song with flute. "A Strange Procession..." is like a dirge, with the drums and organ creating funeral procession-like music. "...A Dance Of Shadows" is my favourite song. Some good guitar melodies, mellotron, and keys. Later the guitar melody with drums and mellotron sounds great. Actually the instrumental passages of this song are outstanding.

This second record from WHITE WILLOW is a good one, but it is their lowest rated album for a reason. Not very melodic or accessible.

Hmmm, I think Jacob was WAY too happy when he made this album :-)

He actually seems to agree from what I've read (not that he was too happy, but that he was happy). Still, no one would mistake this for some other band. There is still melancholy and darkness, just less of it. And far more major keys in songs.

For me, the first track and the final two stand out as the best, with the others being a bit too happy and twee for my tastes. It's not a bad album, but I'd have to say it's my least favorite by the band.

If you want to hear White Willow in a kind of happy mode, this is a must. For me it is just okay. I considered two stars, but I think that even the stuff I don't like so much deserves more than that, so I'll go with a 3. But in relation to their other albums I would consider it a bit less than a 3.

Decided to increase my progressive view across the Scandinavian scene, I took my chances with WHITE WILLOW just by hearing nothing but good recommendations and how impressive they work was. "Ex Tenebris" was actually my first step right into their world of wonderful music. I chose to start from here since the presence of Mattias OLSSON among the line-up rang a bell or well said, a drum to me. Up to the day I played this record for the first time, in the back of my mind there were only reminiscences from Swedish prog exposed brightly through the chords of the cornerstone bands we're all familiar with. I have to admit I didn't enjoy "Ex Tenebris" out of first listen because of my harshness towards expectation set upon Nordic prog rock. Now, I can barely brace myself from listening to at least one song of the record during an ordinary workday.

"Leaving The House Of Thanatos" is indeed a great opener. Softly carried away from the beginning, with this scent of peacefulness that speaks of a delicate touch printed out by WHITE WILLOW. The reward came to my ears straight as an arrow considering myself a lover of the mellotron and anything that has to do with fine displayed keyboards. Certainly, this record overruled my modest expectations. The air breathed in this song is simply devouring. It swings throughout several moods, but never forgetting the deep, surrounding moments. Definitely, one of my favorite WHITE WILLOW pieces.

In a more embracing way, "The Book Of Love" leads us inside the enticing aroma the record's got. The track is plagued of beautiful passages such as Audun KJUS' flute solo and the incredible duet performed by Jan Tarig RAHMAN and Sylvia ERICHSEN. Just the kind of song that would put you in the right kind of mood. Right after, "Soteriology" appears quietly almost in the same way of previous track, but now covered all up by the notes of a shy mellotron and a lovely burst of words coming out of Sylvia's soul. Rather than paused and slow, this songs resembles to me a beautiful lullaby for the unease heart.

"Helen And Simon Magus" has to be the track that particularly sets off from the rest in "Ex Tenebris". The elegance and the passion displayed by Sylvia ERICHSEN in here are even more refined and more sensitive. Her voice intertwines suitably with the musical elements just to release a captivating scent that'd drag you right into the mystery and the spookiness of the song which is quite disturbing in a emotional way. Lots of synthies and mellotron notes would surround the scene, letting no room to breathe but to stand still and live through the song. It also turns somehow hypnotic at the time Sylvia's voice begins to narrate the lyrics, in a very provocative way. A marvelous musical show that undoubtedly has the Scandinavian, deep, sensitive touch.

Musical guest Asa EKLUND appears as briefly as enchanting for over almost three minutes in "Thirteen Days" just to unroll the red carpet for upcoming scene in the album. "A Strange Procession." is to me, part one of the epical trip WHITE WILLOW dared to take on in here. The instrumental darkness floats irremediably strange within the ears just to clear up the air for final chapter... "A Dance Of Shadows" which is just the perfect ending to this lyrical journey. The poetry distilled here goes far beyond any possible imagination. The arrangements made to the song dignify completely the whole means of this production. The instrumentation is absolutely ravishing and cathartic, the mellotron keeps its providential signature and the musical spontaneity is unstoppable at this point. The magic goes on and on for almost fourteen minutes of gorgeousness. This track is a point of departure to tell apart the work of this Norwegian band from what was to come for them over the years they already left behind.

A very underrated album in its entire conception since to me, it's got the genius, the creativity and the innovative breaking point to keep eyes set on the Scandinavian prog scene that's everything but unknown to us all. The album is very refreshing to the soul, a true work of art. Humbly recommended by this helpless proghead.

Is this symphonic, neo or post-rock? Kind of hard to tell really. I think they get the symphonic nod thanks to the use of mellotron, but beyond that I’d say they are really another neo-progressive band with some mildly symphonic arrangements here and there.

The tone is closer to post-rock at times though, with an awful lot of slowly building instrumental passages that sometimes build up into something interesting (like the guitar passage on “Helen and Simon Magus”), but more often just lumber along until they run out of steam, interest and/or ideas (“Leaving the House of Thanatos”, “Soteriology”, Thirteen Days”). That last one would make for a decent folk tune, but in the context of this album it seems out-of-place and not very well thought out.

“The Book of Love” is the weirdest one of all, not much more than a plodding drum line and mellotron/ synthesizer noodling while Sylvia Erichsen provides vocal accompaniment to fellow crooner keyboardist Jan Tarig Rahman, who sounds all the world like Christopher Cross.

The epic-length closing “A Strange Procession..., …a Dance of Shadows” is clearly what got this one the symphonic label (that and the whole mellotron thing). The eighteen minute organ, synthesizer, mellotron and drum dirge is eerie at times and slightly annoying at others, but the band covers a lot of ground with the ever-shifting arrangement and have to be given their due for at least putting some creative thought into this one.

I can’t get excited about the album at all, but at least one of my kids seems to think it’s a decent neo album. So partially in deference to his taste I’ll say three stars, but if you happen to be someone who reads many of my reviews and has a tendency to have similar tastes, you probably won’t find much in this one that appeals to you. Que sera.

peace

Although their debut album was promising (but not great to be honest) this one starts on a weak mood.

I am always expecting a very good opening track which is definitely not the case here. Song writing is deeply uninspired and it is quite a disillusion to listen to Leaving the House of Thanatos even if there are some very short and fine instrumental passages. But you'd better Press Next T while reaching The Book of Love.

I'm really not passionate with this album. The most irritating parts are the vocal ones: it sounds as if we have nothing to deal with but young teenagers on duty. The first good moment I could feel was the gorgeous guitar break on Helen.. It takes place almost half on the album and lasts for about a minute.

Instead of taking off brilliantly, White Willow released a rather thin follow-up album. There are very few interesting songs featured. Hardly symphonic as a whole, I would say. Highlights are scarce (if any) and the overall feeling is the one of boredom (A Strange Procession is the best way to illustrate this feeling). Press Next T.

The best song from this Ex Tenebris is indeed the dark and closing number A Dance of Shadows. At last it is a number which could compete with their debut. Some genuine Crimson sounds are a real highlights of tis average album.

Two stars.

Three years after the very good ''Ignis Fatuus'' White Willow returned with their sophomore effort ''Ex Tenebris'', offered again through The Laser's Edge.Jacob Holm-Lupo refreshed the line-up in a significant deegree, only keyboardist Jan Tariq Rahman remained stable.New entries were female singer Sylvia Erichsen and Dødsverk/Prosessor Balthazar's bassist Frode Lia.But the biggest addition was definitely Änglagård's drummer Mattias Olsson.

This has to be one of the best laid-back Progressive/Folk Rock albums of the 90's, somewhat similar to ERIS PLUVIA and EZRA WINSTON, with a strong Scandinavian feel and some absolutely ethereal arrangements.The album is full of lush orchestrations with an incredible, dreamy and nostalgic atmosphere, that alternates between very smooth and melodic themes and darker/deeper territories.The later are mostly driven by the haunting organ of Rahman and the psychedelic drumming of Olsson, delivering a pastoral but also very cloudy mood along the lines of GOBLIN.''Ex tenebris'' is filled with some excellent Mellotron parts, calm piano interludes, medieval acoustic tunes and occasional electric textures with a strong melodic content and intense folky vibes both in the musical and vocal sections.Synths are used sporadically in a grand symphonic line.Speaking of vocals, these seem to play a major role in the album and all you can say is that they are absolutely magnificent with a crystal-clear color.The amalgam offers a fantastic result, moving, dreamy and well-arranged music full of imaginary soundscapes.

With ''Ex Tenebris'' Holm-Lupo established himself as a great songwriter and composer.Scandinavian Symph/Folk Rock with a unique atmosphere of its own and impressive lyrical moments.Highly recommended.

I wish I could rate this three stars, giving it only two stars seems to imply that the music is weak or that the album is without effort. Nether of which are the case, in fact this is a compelling, interesting and well thought out idea that, unfortunately, did not translate into a strong album.

Perhaps it could be blamed on the recording quality, the relative density of the music / subject matter or the (at times) monotonous vocals but regardless you can't help but get a sense of a failed vision on this record, something that could be far greater than what it is.

This WW's work is their most representative example of one of the bands mark: simple and yet memorable tunes.

The review will be made track by track, and is based on my CD, the Laser Edge edition.

1. Leaving the House of Thanatos.

Begins with a relaxing and quite slow acoustic guitar. When the bass enters, it's very proeminent, and pushes the composition to a darker mood. The female vocals contribute to avoid this mood gets to exagerated. Some few times the execution becomes bombastic, and such combination of soft and grandious makes it a magnificent song.

2. The Book Of Love

Astonishing vocal harmonies, one of the most memorable among their discography. With inspiring lyrics. I destaquei um trecho.

"Ever as time goes on and on and on, these stars will burn forever. Ever as time grows heavy-headed, wan ever. Ever as life goes on and on and on my heart is yours forever, ever as life grows tired and forlorn; eve".

3. Soteriology

Piano and acoustic guitar make a gentle introduction, and remain as the core instruments all over it. They return to the melancholic feeling present on first track. But here, harmonies are more simple than they usually deliver.

4. Helen And Simon Magus

The angelical voice, with a perfect tune on piano, makes a georgeous introduction. The bombastic snippets are marvelous, dense, with intelligent changes on the percussion/drums. As on the first track, they lend the guitar participations practically only for those bombastic performances. It's a song of hope, which can be seen as on the lyrics' final.

"Thus immersed in incognicity, we must rise from the blackest deep. And emerge above the waters, freed of demiurgic sleep, we shall soar where we once did creep".

5. Thirteen Days

The shortest song on the album, 3min. Basically, only vocals and acoustic guitar are present. Very delicate.

6. A Strange Procession

An annoying and sad tune is repeated over and over. A very weak song.

7. A Dance Of Shadows

In this they did a great job. Besides beautiful vocal harmonies, the guitar is more present and inspired. The synthesizers, which in the other tracks were more for background or supporting sound, now do that but also performs some beautiful solos.

Musically, I give it a 3.4. For the lyrics, 4.7. So, it will be more appreciated for those who enjoy intelligent and clever lyrics.