Première Partie : Excroissance Deuxième (Séquelles Ferroviaires)
01 Trublion 23 – Prologue
02 Gaë Bolg – Prélude Aux Fous
03 Gaë Bolg – Variations Sur Le Thème Du Fou
04 Gaë Bolg – Variations Sur Migragne
05 Gaë Bolg – La Valse Du Fou
06 Gaë Bolg – La Fuite
07 Gaë Bolg – Thème Du Fou
Deuxième Partie : Excroissance Première (Le Petit Roy)
08 Gaë Bolg – La Marche Du Fou
09 Gaë Bolg – Le Prince Et La Princesse
10 Gaë Bolg – Le Gibet
11 Gaë Bolg – Tintagel
During all those obscure days from middle Ages, when the word of god stood as the ultimate meaning and goal for life, the life from ordinary men was as ordinary as it is today but more prone to imagine the world as a vast collection of imaginary things propelled by fear, imagination and ignorance. The world’s knowledge was limited and supervised by a meticulous scrutiny in the hands of a few, for the masse there was only prayers, not even a proper understanding of the bible or the teachings from their Christ, true knowledge came from abbeys, these bastions were the real deposit of forbidden knowledge for Christianity. The curia had the power both in spiritual richness and in the material world because of this single fact, they possessed and locked all sources of knowledge and they stored it as banks do with money today. They inspected, dissected studied and edited all books available, from antiquity to contemporary, all literature, science, mathematics and philosophy, all studies on art, nature, medicine, botanical, all the ideas and all the thinkers available were in these places. The codexes beautifully written and illustrated by experts in calligraphy and drawing often were more than mere books, they were complex pieces of double speech and crypticism, conundrums and puzzles describing an inner world within the world itself from the book.
There was the understanding or the profane notion that the world could be two sided, or multi dimensioned, understanding this as if god was out of the order from alternate realities or worlds and these worlds were truly existing somewhere with different laws and dynamics, beings and nature of different and oppose kind, worlds of pure madness and insanity and perhaps evil. The representations from these worlds were often expressed artistically through the codexes prepared in the scriptoriums from the abbeys in small drawings of the most extraordinary strangeness, gryphons, birds with the body of humans, hares with sharpened eye-teeth, deers with fins; a world backwards, an upside down reality where the order was inverted, where rabbits hunted dogs and humans looked like devils. This marginal understanding was perhaps natural in the imaginary from most people back then, it somehow escaped abbeys and permeated the world of the simpletons and fueled an intense increase of fear and curiosity. Hieronymus Bosch is perhaps one of the painters that better express this tendency, with the triptych of “the garden of the earthly delights” in were we can see how the world is twisted in three realities, one perfect and ideal, one where human factor prevails and one in which everything is bizarre, describing exactly what the monks tried to express in the delicate marginalia from the books they wrote.
At first sight the new record from Gäe bolg may seem another strange addendum to his now famous collection of rarities, the cover appears for the unaware eye as a simple candid dada-ist collage. But if we use the eye of the meticulous monk from the dark ages we may discover that Gäe bolg didn’t left anything at random by choosing this art. In fact what we see in here its the same rarity described by medieval men, and may made us think that Hieronymus Bosch and Dadaism were somehow linked in some sort of way, perhaps interpreting the world as it is and not as we wish it could be. The only difference perhaps is while the medieval artists were visionary, the Dada-ist simply announced the entrance in the era of the bizarre and the beginning of a new order where the old rules are twisted and unkind and perhaps a hell in itself becomes all what is known.
And there’s more details inside the album, the music presentation its a powerful neoclassical construction, so well articulated and designed and as usual for the fans of this band there’s so much percussive uproar, bombast and metals together shaking everything with the impetus of an earthquake and a typhoon together. And its indeed a part of naturalness in this work as the classic composition is often pervaded by the clanging from cacophonic blasts and asymmetrical notes that fits well with the intense aura of medieval craziness where only a strange order unifies the plot. A combination of classical instruments with subtle arrangements of electronica in the beginning of the work mark a disruptive intention, a coalition between the classic norms and the strangeness from modern composition. “La nef des fous” its perhaps a tale about humankind, its vertiginous translation in time, and at some moment its evident that the music itself its nightmarish in its own way, even though so organized in its rare order, and then the omen from Bosch and the monks from the abbeys becomes a fact. At some point the medieval base in which all the structure and atmosphere rounds in gets somehow intertwined with the sound of this time, the world is backwards, and results that all those gryphons, strange creatures and transgressions perceived by the ancients are here, in fact we are, the modern men, the modern age with all its inventions and technological advancements the Hell and the nightmare perceived by Borsch and the monks in their artistic interpretations, and the bombastic sound from Gäe remits us to the place we are at in the “Nef des fous”, our own ship, historically locked in a oblivious path of horrors and wonders.
Although centred in a major part of instrumental nature, the second movement (there’s only two) ends with an operatic ceremony, energetic and ominous, of course touched by the bizarre touch that only Gäe Bolg can grant. While the first movement just prepares the listener, sharpening his nerves and senses for the ordeal, but the result its quite tonic and one its carried by the exaltation and strong grace of the album, much like a martial music can do but without the imperative link with war and military. This is an excellent work, an incredible album, a magnum opus of music, I just cant find enough words to grace this work, perhaps we can share the same sentiment.