the weird acid chamber folk of
Spires That In The Sunset Rise

CD (2004), CD (2005), CD (2006), CD (2008), LP (2012)
-> Kathleen Baird
-> Travelling Bell
-> Tar Pet
Graveface Rec.Spires That in the Sunset Rise  (US,2004)*°°

This is weird, and somehow unique.. I have rarely heard so many oddly-tuned oddities in a harmony sound board with an improvisational story like evolution, with weird cello, off the cuff (male and) female theatrical vocals with a punk slash-on-the-head attitude, with racketack-jimjam-rifraf-honkytonk rhythms and experimental strings all in one, yet so fluent and deliberate and so well organized. There’s such a degree of harmony and organisation, the left over over-the-top new-harmonies and off-keys work exactly like a dynamic pressure on the brain, which tries to collect its control, but when listening can’t but become hypnotized in a mad wonder subversive synthesis, which precludes any less direct understanding other than a more direct experiencing. Well done ! Only 500 printed.

Spires Thet in the Sunset Rise are Kathleen Baird, Jaralie Dawn & Georgia Vallas, with guest player Anne Fritz on violin and cello. Instruments used by the group were guitars, cello, violin, melodica, harmonium, little harp, percussion, spike fiddle, voice, mbira, piano.

Audio : "I am Sewn" (or here or here), "Birds Of Paradise", "Bells", "Crooked Spine"  
Homepage : http://www.geocities.com/spires_that_in_the_sunset_rise/
Label info : http://www.graveface.com/bands/spires.html
Other reviews : http://www.firstcoastnews.com/entertainment/musicreviews/news-article.aspx?storyid=33467
& http://www.collectedsounds.com/cdreviews/spiresthat.html
& http://www.another-record.com/wordpress/?p=120 & http://www.tonevendor.com/item/10545
Concert review : http://www.blastitude.com/15/pg24.htm & http://white-rose.net/quantum9.html  next album->
Secret EyeSpires That in the Sunset Rise : Four Winds The Walker (US,2005)*****

What will happen if 4 woman go into mystic rock? 'Spires that In The Sunset Rise' are such four women from Chicago : Kathleen Baird - Vocals, acoustic, electric and slide-guitar, drums, harmonium, Georgia Vallas - Vocals, mbira, bul bul tarang, zither, Turkish lap banjo, lap slide guitar, harmonium, Taralie Peterson - Vocals, cello, guitar, banjo, mbira, and Tracy Peterson - Percussion, bells, mbira, thumb piano, washboard, rattlers.

They played on the underground psychedelic Million Tongues Festival at Chicago's Empty Bottle, along withJosephine Foster, Espers, MV and EE, Nick Castro, Kawabata Makoto and Kinski. They later joined the Incredible String Band for six dates on their US tour.

The style on this new, second album, is evolved and different and more direct but also more directly weird compared to the debut. The inspiration for the music is as if driven by a conscious shamanistic drugged campfire inner dreamtrance vision. There are tons of weird vocals, and a perfect use of strange, weird sounds and strange colour harmonies all over the place, with some focused acoustic guitars, here and there some chamber like arrangements, always experimental in an intuitive ? magical sense. The vocals sometimes are so odd that at times they recall a ghostly sphere. Also the somewhat ritual rhythms seem to react on a border line edge of a paraphysical situation, with knocking ghosts’ sounds, or with marching dead rhythmic weirdness. In combination of it all the music can again be so incredibly hypnotic in a different way, as what I can recall, I’ve never heard before. It is as if the group knows how to use some secret harmonies that gets a listener out-there. In some way it is like the expression with the essence of true magical ethnical ritual music, as a standing stone for a bridge to other worlds and towards different experiences. The effect is so powerful, overwhelming and slurping in all attention from you, that I can not imagine any framed thinker will survive his now fried brainwave changes, which this music can cause, making a recollection perceptiveness switch necessary towards more open visions. It's hard to believe if there would be no deliberate strong believe or philosophical system behind this, other than an intuitive tension, because it really is that powerful. Also incredible is that this tension is continuous for over an hours length, with just a few quiet moments, but even there it is never related to a more ordinary world perspective at all. The music sounds more pagan “magickal” than from any pagan, and more magical than from any inherited repeated ritual. Great!!

Audio : "Little for a Lot", "Shining", "The May Ham"
Info : http://www.secreteye.org/se/a17.html
Other live recording : http://www.emusic.com/album/10859/10859294.html
Other review at http://theunbrokencircle.blogspot.com/2005_04_01_theunbrokencircle_archive.html
2006 release reviewed further down->
Secret Eye   Spires That In The Sunset Rise : This is Fire (US,2006)****°

This group surprised me before, how they found a way and structure through the “magical touch of weird” they were spellbound by. They now sound like a real chamber-orchestra-in rock. Guided by inner voices they have an ear for sounds, possess the female Godly aspect of structure, a natural structure. The songs linger and swing, with some additional atonal sounds (strings, violin) that oddly enough harmonises perfectly into the wave, -waves that become like echoes of ghosts spinning around memories that couldn’t find new life for too long, and now are adapted into a bigger structure, a cloud of a form, with ghostly details that are no longer freighting and scary, but that gave up a goal of finding prey, and in letting its energy finally loose the energies are adapted into a new scheduled alife form of music. The music of this group sounds inspired, organic and very structured at the same time. While on the first album untuned instruments were deliberately left to the instruments choice, evolving to inhumane conditions, here the human control sets them back into the composer’s energy, a form of group’s creation energy, before the instruments would have dissolved into non-existence and unuse, they transformed into a new compromising life form. The new tried and adapted sounds, as I will call them now, are in fact notes that in combination, and in pitched control, form harmonic waves, which is a clever idea, and is something a classically trained student or composer with an open vision should try and give a listen to, because Spires That In the Sunset Rise have evolved to be masters of this vision. As a result the songs are highly enjoyable, attractive and are like a musical theatre better not to be missed. Brilliant. Although everything is perfect, a chosen favourite moment for airplay is “Let the Crows Fly” because it also features attractive hypnotic rhythmic pulses. Highly recommended.

Audio : "Clouds", "Morning Song"
Info : http://www.secreteye.org/se/spires.html#a28
Homepages : http://www.spiresthatinthesunsetrise.com/
& http://www.myspace.com/spiresthatinthesunsetrise
Interview : http://www.splendidmagazine.com/features/spires/ & http://www.storing-zine.net/feature.php?id=49
Other reviews : http://www.unimeri.com/PsychotropicZone/...2008 release reviewed on next page->
Secret Eye  Spires That In The Sunset Rise : Curse The Traced Bird (US,2008)***°'

On the early tracks from this new album I pretty much had the feeling the group took a step forwards in inspirations to make a new interesting, professional sound with a sort of contemporary theatre-stage-sphere related chamber orchestra sound combined with vocals as another instrument of expression.

The first track builds up while looming with cello and double bass, close harmonically with echoing guitar effects, and the high tones of the vocals. Thumbpiano rhythms, in combination with electric guitar, electric bass, ethereal female vocals, while being more song related, direct already more towards a certain sphere of what sounds now as a semi-eastern dream of a song. Weird electric and acoustic guitar effects are added too, contributing like a nicely weird dramatic contemporary effect, which is harmonically well produced. The third track/song sounds as if imitating but also replacing a Japanese koto/court music effect, in a new, personal and rather heart-felt imagination and also western interpretation of Japanese musical elements, in a new theatre form. By this time the album is really convincing, as a rather unique experience. A weird tension with strings, rhythmical touches of thumbpiano, squalls of violin, builds up this time with more of a witches feeling, still in the song context, sounding darker but still interesting, and with remaining echoes of the koto-harmonies. The fifth track builds up in a comparable way, with more repetitions of chord themes and with throat vibrating vocal improvisations, slightly shamanic. Somehow this is building up a tension like a drone feeling. No more than this (still interesting) tension comes to it, and then it disappears again, leading to nothing more or nothing else. When something similar happens on the last two tracks this becomes a bit too transparent, sounding a bit too much like an ‘intuitive feminine way’, which is depending on the mood, but with no conscious structure leading to anything else other than a certain flooding balance between the instruments and elements, so that it is also as if the deeper lying challenge of the early tracks (bringing enough challenging elements together in a harmonizing environment, also with the guitar) this creative inspirations fades out with it a bit now. I did like the idea on the last track using the element of what I think is writing on wood in combination with the other elements…

Numbered edition of only 500 ! (those who are still looking for a copy, I still have 2 copies ; mail me here)

Additional remarks : Later I was told there is no double bass on the first track and no guitar and the plucked instrument is a spike fiddle. there is no double bass on the first track and no guitar-- the plucked instrument is a spike fiddle. Also, the stringed instruments on the third track is a very koto sounding banjo and mandolin (no guitar). There is no acoustic guitar or violin on the entire album-- it is all the spike fiddle. It is clear that the instrumentation is not real transparent, ; I just tried to describe what I heard, so that the reader might have some idea how the music sounds.

Audio : "Java Pop", "Equus Haar" & with info : http://www.myspace.com/spiresthatinthesunsetrise
& on http://www.audiolunchbox.com/...
Info : http://www.secreteye.org/se/spires.html
Descriptions on http://www.insound.com/... & on http://store.acousticsounds.com/...
& http://www.allegro-music.com/...
Review and short audio fragments on http://beta.bordersstores.com/online/store/TitleDetail?sku=714903934323
Hairy Spider Legs Rec.  Spires That In The Sunset Rise : Ancient Patience Wills it Again (US,2012)****

It has been a while since we heard from Spires That In A Sunset Rise, but here they are again with a fresh vinyl release. STITSR is Kathleen Baird and Taralie Peterson playing a variety of instruments : harmonium, guitar, slide, banjo, bowed psaltery, cello, flute, autoharp, spike fiddle and mbira, while singing. The weird character and the off-key modes from the beginning are replaced by arrangements of at times near-classical harmony without losing the weird strangeness effect.  I assume most of the tracks are arranged as such so that they can play them live with a few parts with recorded repetitions in layers, the effect is very natural, song based and succeeds to have a slightly dark magical but very moody atmosphere in them.

“Veiled Undertow” is beautifully swelling with bowed zither (?) or guitar picking, with classical harmonies of cello mixed with droning harmonies of some other instruments (harmonium,..). At first it is only a few bowed drones that are to be heard, where a flavour of a folk melody is returning like in a filmic horror movie. Then a song is sung over it, like two close to each other singing voices, developing the filmic drones like a huge classical music piece, or like a rising landscape. The second track, “Grandma” consists of a very slow pulse, a deep echoing slow bass tone of percussion on what I think is the wood of the cello with an acapella song. Here are overlapping bowed harmonies of cello over it, also with a deep effect, and deepening tones just like a submarine in the echoes of deep waters, expressed in the rhythm of more and similar slow pulsations. More harmony vocals are coming over it, and a vibrating voice, and some side effects on piano and cello, quietening to the voice now and then, only to come back to the swollen pulse. “Child Of the Snow” is arranged like a chamber-music-like composition with the melody expressed on plucked cello with a bowed arrangement in low and higher registers, as the foundation for another song for which the arrangements multiply a bit like echoing, but also as more arranged responses. This is beautifully arranged like a mystical dance or song. The next song “November”, with doubled and harmony voices and with picked atmospheres and bowed textures keeps a dark mystical atmosphere, a breathing tension. The last part of it bubbles moodily further with an improvisation on the remains with deep piano tones, bowed strings and high tones plucks. The last track, “Well Tempered” swings repetitively with two dancing-with-each-other overlapping accordion tunes, before two singing breathy voices finish this with a moody airy song context.

Very good !

Audio : http://soundcloud.com/...
Homepage : http://stitsr.com/
Intro : http://calmintrees.blogspot.com/2012/03/spires-that-in-sunset-rise.html
Label info : http://www.hairyspiderlegs.com/web/artists/spires-that-in-the-sunset-rise/
Intro : http://calmintrees.blogspot.com/2012/03/spires-that-in-sunset-rise.html









go back to review page 10
or to review page 23 or to reviews march 2012
or go back the psychedelicfolk index
or go back to the general index