The pagan pageantry of folklore, lovelorn truth anile, and her Gaelic realism are all celebrated in the middle kingdom known as Cruachan - in the realm of Connacht. Listen, hark, and hear the gallant Gael gambol and gracefully heed the Morrigan's Call - loyal to his maiden Celtica. Keith O'Fathaigh and the charismatic Karen Gilligan beguile again with their vivacious victory reel and wild errand songs. Cruachan paint a rainbow of progressive melodies - an aniline tapestry of choral colloquialisms. Ride on the rocky road of the very wild rover, and rouse your dream.
Existing ever since 1992, with the fall of Minas Tirith, with great hunger and passion, Keith and his Irish band of Dublin dandy hounds have consistently continued to sublimely tincture their mettle with an expansive hilarity; upholding Gaelic Folk traditional elements. Like Finntroll, Cruachan expand the boundaries, employing an awesome argosy of otherwise instumentation, being pensive; never dreadful. Incorporating the violin and guitar with the tin whistle, bongo, mandolin, bouzouki, and bodhran creates an ensemble of effectual aspersion. Cruachan also vocally accomodate dichotomically betwixt the wolfen tone of Kevin's animosity: balanced by the alacrity and polished clarity of Karen's soliliquoy. Keith stems from a black metal background of gruff rasps, similar to Grutle Kjellson of Enslaved. He also enacts that rasp common to the cusp of Martin Walkyier, when he sputtered history's heresy and weaved dreams with Sabbat. Skyclad is an obvious influence on all aspects of Cruachan as well.
Karen's vocal elucidation is merry and piquant; pithy and powerful. Keith will sing clean in his bucolic commanding tongue in subtle interchanges with Karen. Cruachan have a knack for creating a sound and style which transcends adequate classification. Their music will appeal to a wide range of musical esteem. Fans of the Pogues, Fiddler's Green, and Dropkick Murphy's will share ancestral accolades. Fans of Falconer, Mago De Oz, and even Elvenking, nota bene, and commemorate the commensurate cavalcade. Cruachan also share style and substance with their countrymen Waylander, who relish Irish culture and mythological storytelling, with articulate edification.
Cruachan dutifully honour their personal polititcal history by inscribing an allusion to their sacred heritage, with songs like Wolf Tone and The Great Hunger - addressing the Great Potatoe Famine. Tolkien, also is highly admired with a song from each album in the domain of the fellowship of his collective works. The opening track Shelob, with it contrasting vocals and blast beats is measured with kinful vituperations, which render as an example; as the fall of Gondolin has evidenced, on past releases.
Cruachan are also known for customly covering classics of their Green Island culture like The Very Wild Rover or The Old Woman In The Woods. On Pagan, I so savoured Some Say The Devil Is Dead, and its mirthful exuberance . They have even updated the song Cuchulainn from their 1995 debut Tuatha Na Gael. I especially enjoy when they choose to sing a song in the Gaelic dialect and vernaculer, as this carries such sprite and charm to the mystical melodies.
I have gloated over every Cruachan release; while Pagan is still my favourite; The Morrigan's Call is equally elegant and elabourate. I adore the convolution of instrumentation. I am always eager to learn more about Irish culture and legend. Most of all I praise this band of talented song writers who never limit their potential; but consciously re-create it. So cherish their art on the occasion of St. Patricks Day!