It sounds like an unusual record: on side one the American folkies of Changes, who have firm roots in the 60’s; on the other side Cadaverous Condition from Austria, coming from a metal background. But why not, though I’m not sure why this is a split record instead of two separate releases. There is one real collaboration on “Time”, the title-track.
The story of Changes is probably well-known: the cousins Robert Taylor and Nicholas Tesluk were already active in the late 60’s/early 70’s, with peoms set to acoustic music, but became forgotten in the course of time. They were more or less rediscovered by Michael Moynihan (Blood Axis), and a few (re-)releases followed. “Fire of Life”, with material from 1969-1974, was released through Cthulhu/Storm Records and recently re-issued by Hau Ruck!. It was followed by new material on “Legends” (1998, Taproot Productions). Last year Changes did a convincing performance at the Wave Gotik Treffen in Leipzig.
On this record their first new material in a few years can be found. There are 5 songs on the Changes-side, with the poetic ballads they are renowned for. The music is traditional and simple, just melodic songs with only guitars and voices, which are both pleasant to listen to. Most deviating is ‘Universal Solder’, also knowmn from the “Codreanu-sampler’, with the same musical background as Allerseelen’s ‘Gletscherlicht’, which fit the lyrics like ‘Can you hear my boots come marching’ very well. The other songs contain pure folk, performed in a convincing manner. The uptempo ‘Song of Pan’ is probably my favourite, with a nice flute and a cathcy refrain. Nice and intimate is the short ‘Slipping away’ sounding like a melancholic children’s song.
The five-piece band Cadaverous Condition shows itself here from a purely acoustic side. The only reference to metal are the raw and low, grunt-like vocals. The effect is quite original, I already read the term ‘death folk’. The collaborative song with Changes, on which the distinct violin sounds of Matt Howden can also be heard, is excellent. The combination of voices here is quite entertaining. The other songs of CC are perhaps more restrained than expected. They are more or less acoustic ballads, with good guitar work. The raw and passionate vocals are the only ‘extreme’ element. Though this will never be my favourite vocal style, I get quickly used to it on this record. Only the last song ‘A dream within a dream’ contains a short part with electric guitars. On this interesting track some spoken vocals are delivered by Richard Leviathan (Ostara), who is not afraid of stylistic eclecticism himself.
Certainly not an everyday record, but that’s one of its charms.
