Fabels Opens Up Minds on New Album

By Deuce

It’s a trip–quite literally, in fact–how much one can simply zone out to the aural offerings put together by Fabels on its highly inspirational Long Player entitled, quite appropriately enough, Minds. The music of the duo–which consists of Hiske Weijers and Ben Aylward–evokes images of the best part of the docudrama The Doors, in which Morrison and his cohorts were on stage entrancing anyone within earshot with sounds that hypnotized–if not quite often tranquilized.

Listen to just about any of the efforts on this LP and you don’t necessarily hear this music so much as you envision it–dark stages, incandescent candles, a sea of silently swaying bodies paying homage to the words, the sounds, and the concepts so richly depicted that they inform multi-sensory perception.

The interplay between these two artists is dynamic and compelling. At times the music is so much so that it’s almost a disappointment to hear the vocals, which is nearly the case on “Shere Khan”, the incantation cast by the music is so powerful. The drums are trippy, both offbeat and on, if you can believe that, and the magic of the electric guitar floating around the cut–dispelled by Aylwar–is so potent you won’t want any interruptions of this timeless sorcery.

Actually, Aylwar’s guitar is the catalyst for the conjuring of feelings, images, and souls on the album opener–simply called “Open”. Granted, his female counterpart is equally as captivating with the way she hits her high notes, but it’s unmistakably the electric guitar that’s setting the pace, forcing it at times, and demanding the vocalist keep up–which isn’t a problem on the entirety of the album.

With this sort of formula–that’s as far from formulaic as one can get–the pair are able to weave together tapestries of chromatic and sonic fates so well that a number of the songs approach the 10 minute marker–whereas one even eclipses it. “Takko” is demonstrative of this otherworldly quality manifested in temporal sensations. It’s replete with space and some sort of string-sounding synths with which Aylward plays with to desired effects, and with his female partner not so much singing to but breathing and expelling notes and sights that anyone who is truly listening can understand.

It’s certainly one of the ones on this outing, and is in good company, in this respect.

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