Camera Obscura 
Rusalnaia (UK/US,2008)****
Like twin sisters, Sharron Kraus and Gillian Chadwick shared inspirations, time and energy to make this collection of songs, of which the front cover sleeve reveal already something of the starting point. All songs are about seeking comfort in homes, versus an awareness and a dealing with a connection with the voice of the elements and with the inevitable seasonal changes in things, in a deeply connected way and with awareness of how demanding the call and needs for changes coming from the voice of nature. Feeling this connection can be a benefit, within that balance, with humans looking for comfortable situations, in combination with the awareness of when change is needed ; wherever it will take you, this feeling and connection with both worlds will seek its balanced benefit.
“The Sailor and the siren” is about the call of the element of water (with the metaphor of the siren, luring someone from shore, drifting away endlessly in the mind) versus finding the place called home. “Shifting Sands” is about losing home, on shifting sands. The music either works like minstrel traditionals of experiences and wise advice sung around the hearth or, once making the connection with nature, sound more like a friendly witches circle dance, mostly with spinning wheel pickings and always without real percussion. “Kindling” is about the feeling of comfort, when in balance with the elements. “Rusalnaia” is about the freedom in nature, when being swallowed completely by the green path. “The Ravager” is about the wind of change, which takes away all feelings of comfort. A touch of calm doomy organ confirms this content. The “Winter” song shows how there is a need to recover, after more colourful freedoms of expressions in previous conditions of spring time. “Dandelion Wine” explains further the seasonal change, after winter, a song where the guitar pickings sound more thumpiano-like, and this with additional cello and flute arrangements. The last, longest track takes the listener further to Summer, with an improvisation on psalter, flutes, handbells, vocals of heavenly singing, and a violin improvisation, on a rhythm like a witches dance, which makes it the most psychedelic track of all.
It helps that the songbook and lyrics are included, so that the songs work very much like a conceptual minstrel book.
Additional arrangements on keyboards, bass, and fuzz guitars were done by Greg Weeks. Margie Wienk plays cello and string bass on two tracks.
