WEIRD TALES

Terrifying and strikingly so, Karda Estra weaves a harrowing tapestry of sound throughout- this journey is not for the fainthearted, and amazingly, this mood is achieved compositionally and not through onerous techniques (like growling vocals, for instance). Overall the music is adventurous and generally on the dark side, with bright respites arising from time to time. What also helps is the hearty presence of the clarinet, by far my favorite woodwind instrument. Oftentimes the music evokes the thought of gangsters during prohibition- I am not entirely sure why. The biggest drawback is the absence of any rock element; this album consists of what I could best describe as avant-symphonic music, and extremely good for that.

"The Whitstable Host" Ominous and melodic, the opening piece is almost cinematic in its effect, but eschews rock sensibilities throughout its duration.

"Skulls in the Stars" Spine-chilling disharmonies involving acoustic guitar, strings, organ, and a host of other instruments make for an unsettling listening experience. Haunting violin and vocals shift through from time to time, adding to the uneasiness.

"The Eye of Silence" This one involves a brooding piano and a dissonant accompaniment.

"Green Dog Trumpet" This piece reminds me of certain scenes from old cartoons, like Looney Tunes, during which a villainous character was plotting; one can almost hear the maniacal laughter of some sinister schemer.

"The White Rose" Mild acoustic guitar lays out a foundation for gorgeous woodwind- a stunning piece.

"The Atom Age Sense of Impermanence" The artist juxtaposes delicate choral passages with disquieting fare.

"Island Universes" Gorgeous clarinet and English horn produce a compellingly graceful piece of music.

"There Is No Finished World" The final and lengthiest piece depends heavily on strings, guitar, and piano. It is, unfortunately, my least favorite work on the album, largely due to the dull, monotonous arrangement and the screeching noises that ensure part way in.