Saltatio Mortis Heptessenz
Napalm Records February 2003
By Russell Garwood
Saltatio Mortis are a group of seven medieval players, who combine their aged melodies and traditional instruments with occasional modern touches such as programmed drums and electronics. An interesting mixture, you might imagine. The only complaint I have, however, is that I would like to see more modern elements, as these are few and far between, and it would be interesting to see true integration of the two styles. This said, the music on "Heptessenz" is interesting, and still relatively unusual, as well as being quite accessible and generally likeable.
The main instruments stand as bagpipes and shawm, but lute, harp, keyboards, pommern oboe, breton bagpipe, davul, kettle drums, darabuka and horn all make appearances. The music, despite a wealth of instruments, can feel samey, but there are enough changes throughout to hold your interest. For those who like medieval music "Heptessenz" is a must, and I can see others enjoying this release as well.
Napalm Records February 2003
By Russell Garwood
Saltatio Mortis are a group of seven medieval players, who combine their aged melodies and traditional instruments with occasional modern touches such as programmed drums and electronics. An interesting mixture, you might imagine. The only complaint I have, however, is that I would like to see more modern elements, as these are few and far between, and it would be interesting to see true integration of the two styles. This said, the music on "Heptessenz" is interesting, and still relatively unusual, as well as being quite accessible and generally likeable.
The main instruments stand as bagpipes and shawm, but lute, harp, keyboards, pommern oboe, breton bagpipe, davul, kettle drums, darabuka and horn all make appearances. The music, despite a wealth of instruments, can feel samey, but there are enough changes throughout to hold your interest. For those who like medieval music "Heptessenz" is a must, and I can see others enjoying this release as well.
