IN THE RAIN

Through the encouragement of fellow prog folk collaborator Gordy, I have been poking around select releases from the discography of SOL INVICTUS who, along with DEATH IN JUNE and CURRENT 93, represent the trifecta of neo folk pioneers, this one led by TONY WAKEFORD. It is in the late 1980s and 1990s works of these UK groups that we can discern that touted blend of folk structures and industrial post punk more so than say in the 2010s acts of continental and American projects like CORDE OBLIQUE, SANGRE DE MUERDAGO, IN GOWAN RING, and HEXVESSEL. My impression thus far is that SI is the least "out there" of the three neo folk Godfathers, but still hardly for the faint of heart! I chose "in the Rain" for this first review as it was the one I was coming back to the most, but plan to evaluate at least a few more from Wakeford before moving on.

It turns out that "In the Rain" might be their most acclaimed, and I suspect, based on the spotify popularity list, that this has much to do with the stunning "An English Garden" track that graces the album's powerful midsection. Wakeford's barely sung style positively warbles compared to CURRENT 93's DAVID TIBET, and on this keystone cut he seems to be riding the potent bass and strings after a delicate albeit sinister start. The other highlights are those that similarly bust out of their singer songwriter in a factory locale, like "Fall like Rain", which also exemplifies his tendency to favor bleak contrasts in lyrical imagery, which has led to some unflattering critical evaluations; the almost jig-like "Oh What Fun"; and "In Days to Come", with a riff that coaxes neck hairs out of their comfort zone. The two "Europa in the Rain" pieces are noteworthy in the instrumental realm.

I must especially laud the effectiveness of acoustic instrumentation throughout, and I gather that Wakeford has always managed to surround himself with folk who, if not necessarily abiding his message, certainly "get it". Two bonus tracks feature on the 2015 reissue, with a cover of John Cale's "Hedda Gabler", presumably based on a title character from a Henrik Ibsen play, being noteworthy for its style out of step with the rest of what I have heard from SI, choosing a more narrative approach and, unusually, a piano figure that coaxes the story along. The extended coda is in the form of a string ensemble trying to approximate ambient electronic and acquitting itself with longhair elegance.

Clearly influential on the neo folk scene, "In the Rain" is a bit lighter in feel than most of its contemporaries, but it's still not exactly music to brighten up your day, unless you are weird like some of us folkies.