WOLF'S HEADS AND WOODLANDERS

Each piece of this surprisingly good EP contains enough variations in spite of their respective lengths to make for intelligent and interesting listening, but retains recurring themes to make it memorable. That is good, because good gracious are there plenty of artists who favor one or the other entirely too much, either refusing to play the same note twice in a wearisome display of ability, or deciding to perform the same tedious chord progression and theme in excess of thirteen minutes (looking at you, post-rock). This humble collection of recordings takes the listener through several charming passages while keeping him well-anchored. It blends a few styles, borrowing most heavily from the folk and symphonic schools, relying very much on acoustic guitar and synthesizer, both working through very creative and Celtic-inspired arrangements. That said, there is certainly room for growth and improvement, but I for one heartily look forward to what these gentlemen are up to next.

"Willikin of the Weald" Acoustic guitar, bass, and an immediate synthesizer lead begin this delightful EP. The synthesizer, bass, and flute all have a way of taking turns at the fore, all over solid acoustic guitar work and drumming. After about a minute, it completely shifts its shape, taking on a slightly dimmer mood. Later, the acoustic guitar handles the bulk of the work.

"A Late Summer Drift" Flute and synthesizer dazzle throughout this brisk piece, which is clearly inspired by traditional Irish music.

"The Yearning of the Green Hart" Afforested offers a more melancholic composition, with the acoustic guitar again serving as the backbone. One should expect several varieties of synthesizer lead, as well as a lively flute from time to time.

"Escaping King William" This is the only song on the record. While retaining that traditional Celtic flavor, this upbeat track includes the typical synthesizer work and some lead acoustic guitar bits. The brief vocals are less agile, however, but possess their own gruff charm. Halfway through, the music changes pace, slowing down to become something more akin to the Medieval fare of Gentle Giant.

"The Hollow Yew" The final piece is a happy one, incorporating mandolin and flute over a cheerful chord progression. It slows down tremendously later, relying heavily on a whistling synthesizer before turning into something similar to ELP. The flute-led Jehtro Tull-like sounding beginning returns and concludes the piece.