After an agonizing seven year wait Blood Ceremony are back with a new album. Listing to The Old Ways remain, the band have certainly retained the core sound but there is an atmosphere of “Lets see what else we can add to the mix”. A quick glance at the writing credits sees main songwriter Guitarist Sean Kennedy co-writes with both bassist Lucas Gadke and Vocalist, Flautist, Keyboardist, front woman extraordinaire Alia O’Brien. Blood Ceremony also upcycles a song written by Kennedy’s wife Amy Bowles from an earlier project.
This makes for a more varied and at times surprising listing experience. Kicking off with the Hellfire club this song packs all the motifs we have grown to love in Blood Ceremony. Retro Organ, Guitar Riffs beamed in from antiquity, The occult/horror like lyrics and, the soaring voice and flute of Alia O’Brien.
Up next is Ipsissimus, which translates from Latin as “Own Vey Self”. It also means to be free of limitations and to live in perfect balance with the manifest universe. (See? I’m not just a pretty face!!)
As great a band as Blood Ceremony are, their sound is built on the foundation of the Flute and Organ that are a joy to hear. Eugenie is a perfect showcase for this; however, this is where things really become interesting with the addition of a Saxophone solo that wouldn’t be amiss on Sticky Fingers/Exile era stones.
Going for a different vibe The Bonfires of Belloc Coombe bounds along nicely with an earworm chorus and multi tracked vocals, added violin keeps the surprises coming. The biggest curve ball comes with Hecate, which can only be described as a glorious slice of sunshine pop in the vein of the Fifth Dimension. They hinted at this style with Floor Phantoms of their last album Lord of Misrule, but this is so authentic in its execution, from the pedal steel guitar to the interweaved vocals, you can almost taste the Californian sea air and feel the sun on your skin. Written by Alia O’Brien. I am honestly intrigued by what she could do and would do on a solo album.
The previously mentioned Mossy Wood(written by Amy Bowles) and Song of the Morrow round out the album. Both emphasize a pagan/folk/Psych atmosphere and could have been lifted from the Wicker Man soundtrack.
Less heavy than previous albums and all the better for it. The Old Ways Remain while steeped in the established Blood Ceremony sound, unapologetically retro with nods to both the 1960s and early 70s. The addition of newer instrumentation, experimenting with vocals, and genuinely just following their muse has created a deeper and more interesting listing experience that is only hinting at how far out they can journey musically. Let’s hope we don’t have to wait seven years to find out where it will lead them and us.
-Bobo Coen
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