L'un Marquer Contre la Moissonneuse roughly translates to "the one who scores against the reaper" and describes the inspiration for these recordings - that one's good deeds do not go by unnoticed by God and allow us to continue living another day with his/her grace. This inspiration is, for the most part, not embodied in words as only five of these 45 minutes have vocals. Instead, the focus of this album is on two long improvisational recordings.
Fifteen minute long "White Fungus Bird's Nest and a Moon Pie" opens the CD with an eerie woodland vibe. Creaking planks and crickets fill the back of the space as a vocalist chants ohms and ahhs to create a melody. Zither and bass are plucked with much force, building in intensity as the song progresses, creating a springtime hail storm through the forest. As the rain starts to clear, kazoo-like sounds enter, sounding like birds and frogs, echoing around the space to create a warm, dayglow rainbow, transcending into the heavens. After a short traditional song, the twenty five minute long "Bloated Moray Elk" follows, opening with quiet, droning mediations. Guitar squiggles, vibrating metals, and breath sounds lurk underneath, creating a twitching, tense vibe. Eventually, after over ten minutes, a lead guitar enters the song, and it really starts to rock. In full rapture, the guitarist performs a free raga strut which carries the song until it ends. Bass moan, wordless chants, and clickedy-clack percussion bounce around the guitar, congregating together to become Jesus' sunbeam.
While the jam sessions are the meat of the album, the two more traditional songs are also noteworthy. In fact, "Counterfeit Kingdom" may be the group's best traditional song yet. With a gentle folk strum on the lead guitar and punctuating twangs and trembles from the other members, the vocalist sings of the danger of secular things in a soft but anguished voice - really powerful. The other traditional song is less of a folk song and more of a lullabye. Sounding like it was recorded straight to boom box (or through a baby monitor), male and female a cappella voices sing a simple melody up and down the scale. After a 25 minute long journey on the previous track, the lullabye - while somewhat of a throwaway - ends the album on a a soft and reassuring note, letting you know there is comfort in God if you deny the false prophets of the "Counterfeit Kingdom."
For those who enjoy Wooden Wand and the Vanishing Voice's jam sessions, these recordings of the group's "good deeds" are essential. Who knew all it took to get to heaven was a whole lot of rocking out with extended trips and grooves?
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