(SELF RELEASED; 2015)
I have long been enamored of the look, the feel, the sound of Melora Creager’s pioneering Gothic cellists, Rasputina. For the past two decades (more or less), Creager’s dark pop sensibilities have collided with her sense of adventure, creating a sound that is, at once, steeped in musical styles long out of vogue and thoroughly modern in its approach. Rasputina’s lyrics are legendary in scope, retelling the folkloric stories of women – both real and fictional – generally relegated to the footnotes and page margins of history and myth. Now, after a prolonged layoff, Melora and Rasputina have returned with a new collection of fourteen chamber pop masterpieces, the self-released UNKNOWN. While the album is mostly Melora alone, in what she has called “a dank basement studio,” current Rasputina members Luis Mojica and, after a near-twenty year sabbatical, the returning Carpella Parvo do make the occasional guest appearances.
Though the album (only available here) is less than 50 minutes in length, it is a sprawling miasma of diabolic visions and unsettling noises, as befits the purely modern incident that triggered the music… Melora was Cloud-hacked. The opening track, “Curse Tablet,” is a mad madrigal, with pretty voices reciting dark lyrics just below the furiously sawed cellos… rather like the voices you hear coming from beneath the blasphemed soil in an abandoned graveyard. The song is operatic in its musical scope and lyrical content (what you can make out through the haze, anyway). “Pastoral Noir” is a sing-song fever dream featuring a tribal vibe underneath some squalling, feedback-drenched cello. The narrative follows the goddess Vesta on her search for a shepherd named Tony. The goat-god with the answers, Pan, is embodied by Mojica and his chaos piano. Next is “Sparrow-Hawk Proud,” a (mostly) instrumental extension of the previous tunes aural abuse. “Unicorn Horn Mounted” is a unicorn’s lament for her lost horn. A whimsical tale of a guileless maiden named “Bridget Manners” sees the title character seeking her place in the world (or her stuff in the Cloud). The song is a brilliant vocal exercise featuring great harmonies (Malora’s multi-tracked voice, mayhap?). The dichotomous paranoia of “Indian Weed” offers another multi-tracked psychedelic vocal trip; it manages to be very disconcerting while sounding quite pleasant. “Unknown” is a jazzy, instrumental improv sort of thing, kinda like a Jaco or Stanley bass solo performed on a cello.
“Emily Dickinson’s Trophy Envelope” is a seemingly rambling discourse on… Emily Dickinson by… uh… Emily Dickinson. It’s a frenetic, lunatic fringe of heavy, chugging cellos and tinkling piano fills. God, the Wizard of Oz and pudding all meet on the back of an envelope… that Dickinson woman was nuts! Another instrumental, “Steady Rain” is sort of like a Gothic hoedown. A very Siouxsie Sioux-like vocal performance with lyrics that well suit the track’s title informs “Psychopathic Logic.” Early on, the question becomes “just who is the psychopath?”The music is vaguely Middle Eastern. “Untitled I” is an instrumental, tonal in quality and a percursor to “Sensed.” That number is a languorous poem about death and obsession, but… is it real or imagined? Is the death natural or a murder or a suicide? Scraped strings and eerie vocals add a definite sense of horror to “Taken Scary,” a Sixteen Horsepower type of Gothic tale of revenge and murder. The album closes with “Hymn of the Wormwood Women,” another sullen, solemn mostly instrumental piece, with cellos and spooky vocalizations (no actual lyrics) doing the heavy work.
After too long away, it is certainly good to have Melora Creager and Rasputina back with new music and back on the road, including a stop in Saint Louis at the magnificent Old Rock House on Sunday, August 9. Find other dates at the above link.