Private. 
Psalters : The Divine Liturgy of the Wretched Exiles (US, 2006)****°
Introduction :
If there's one new group who could be interesting enough to spend a whole separate webpage on, it is Psalters, an 8-member group from Philadelphia. This is their fourth or so release, and it shows a rich and new vision on liturgical music. Liturgy, the liner notes say is "a rite or body of rites and observances, from the Greek word 'leitourgia', meaning the work of the people...". Their work, in a renewed conscious way of what can be associated with a source for religion, which in this case takes the shape of a new Christian movement, (as that is what in our own education processes is known best), with an open vision to the world.
The album is a conceptual liturgical movement in 21 sections or songs : Introit, penitential rite, kyrie Eleison, Gloria (readings), collections, prayer, Apostles creed, prayer of the faithful, offertory, Sanctus, proclamation, consecration, Epiclesis, Anamnesis & doxology, Lords prayer & Amen, rite of peace, Agnus Dei, ablution, breaking of bread, Missio and Exeunt. Also psalm 6 is interpreted, as a penitential rite. Musically this is far from any of the Biblical inspirations I've ever heard. It seems more like it is performed by hedonists, who feel the need for deeper consciousness through direct performance of their experiences. More closer to what they are, they feel like being a "nomadic tribe of Psalters". With their inner need of giving expression to what they feel, they feel much contradiction on how their country is presented and judged by what the Bush administration represents, and how this also means an oppression of a more true and open eye that could take us more easily to true knowledge and understanding of all the other cultures.
They feel like they are at the stage of an Exodus. Back to the origins of the idea of nomads, they want to know how they can live with this moral and mental oppression, and will seek some answers in the Middle East. With this CD and gigs they have collected enough money to go to Turkey to live with some Kurds for a while to see what they can learn from them.
Their music is like the presentation of a mission, like a cry-out, with has an inner research program, and is also, pure musical amusement. I saw that the group is befriended with the "Jesus radicals" who say Christian Gospel is primarily a message of love and peace, seeking for support and dialogue to open up a network. They are also part of 'the Circle of Hope', another community which is trying to create safe havens around God worshiping communities, preferably with a practical message. Musically they are inspired by a whole range of references like the music of diaspora; Bedouins, Tuaregs, and Romani peoples, old spirituals, orthodox chants; klezmer, Appalachian, Iraqi traditional maqam, West-African ballet, Timbalada, music from the silk road, and musicians like David Eugene Edward's 16 Horse Power/Woven Hand, Tarif de Haidouks, Ballydowse, Tom Waits, Talking heads, Fugazi, Danielson Famile, Arrested Development, Kayhan Kalhor, the Bulgarian Women's Choir, Sepideh Vahidi, Ken Butler, Mamady Keita, Hossam Ramzy, and so on. Nowadays people explore and adapt elements from the Middle East (compared to the '60s where India was more the source of renewal). This may also be understandable from a religious viewpoint. (*see remarks further down). For this group, the most important thing is to follow what they feel at the moment, and to experience and thus open up a learning process. They adapt elements from anywhere to express this as spontaneously as they can, as nomads on their path in search for more inner truth and understanding. That mentality is something which makes their sound so strong.
Instruments used : vox, banjo, bouzouki, acoustic and electric guitars, oud, double bass, flute, mijwiz, bamboo flute, bass recorder, accordion, shofars, whistle, keyboard, samplers, synths, congas, djembe, doumbek, cow bells, daf, riq, ruach-abba (wine barrell), dunun, kick drum, cymbals, castanets, tambourines, qarkabebs, elephant bells, ghungroo, chains, hatheli rattle, harmonica, shekere, tambora, balafon, kalimba, timbale, guiro, talking drum, sistrum, udu, double gongs, cajon, snare drum, didjeridu, trumpet, hand claps, cello, bouzouki.
Review :
The band is really fantastic in expressing a rich and convincing style, which I'm sure will be liked by those who already like Silver Mt.Zion, Eyeshores, Cerberous Shoal and other, rather chamber-like rock bands (with harmony vocals). They show plenty of style mixes and offer a new, powerful different style, where each of the 8 members succeeds to increase the music's inner power. Most percussion which is used, is from Middle Eastern origin, wild and brave, sometimes with a touch of African, and even ska. Their vocal arrangements are beautiful and wild as well, have Christian liturgical and perhaps Bulgarian associations, but are also related to a chamber rock expression. There are beautiful female lead vocalists, but also several baritone men who sing like Tom Waits mixed with Comus. Instruments which are recognised more often are besides percussion, violin, accordion and banjo, with some wildly played pedalled electric guitars here and there.
And there are plenty more associations in the mix. The first track refers to a Greek prayer. Another track has an Armenian vocal part, in that way so that the "Lord's Prayer" sounds more like a combination of a Middle Eastern and a Christian prayer (!?). The only track without instruments, "Gloria", sounds more like a Byzantine prayer. The Rite of peace, the "scarf dance", sounds more African, but I do not know from which sources it originates (the words "gye nya-me" are used in it as a background chorus theme). The Breaking of Bread, "Dumpster Divers" and Missio, "all who are weary" have something Appalachian in them, with banjo and such. And the last track, Exeunt, "Train de Vie" the group sound a bit more more like a brass band with ska-influence. In the 78 minutes of the album, there is not one weak moment and plenty of surprises. The music is sung, as if they are nomads on a mission, and there are also convincing inner expressions, with a noticeable true inner need to sound just like they are : wild and uncompromising. "Richamon and Lazarus" for instance, sounds as if sung by Lazarus himself, a true crazy cry-out with exorcizing mad vocals. Also very original (if not every track) is the Offertory, "dig it up" which sounds like a Negro gospel, with wild versions of baritones, like Tom Waits into a psychedelic folk ritualistic territory, with its own background choir, with great odd percussion rhythms sounding like keys (or is it chains ?) in sandbags, that could easily make hints to Comus.
This is a highly recommended album, and a true surprise which fits well with the other, just released album by Trees Community (reviewed on next page), with more modern vision.
* PS. For these personal remarks on similar origins in Islam and Christianity click here.
