The last time Helena Espvall (of Espers) and Masaki Batoh (of Ghost) got together to create an album the end result resembled the kind of sound-tapestry two people of like-minded musical musings might weave over an ocean of space and time. Their first record (self-titled on Drag City) generated a quiet excitement from those of us at Amoeba familiar with the "new folk" weirdness of Espers and the psych-rock wyrdness of Ghost and seemed a sound-marriage of sorts where faded-about-the-edges Scandinavian tunes and other haunting works, both borrowed and original, mingled freely on relic-esque instruments. Nothing there suggests the kind of epic, blast-from-the-distant-past sonic onslaught of Overloaded Ark, Espvall and Batoh's second release on Drag City and the latest source of a new take on a very, very old favorite song. 

Overloaded Ark's opening track, titled "Little Blue Dragon," is a better known by the name of the merry dance it was originally composed for way back in 14th century Naples: the saltarello. It is played in a very fast triple-meter and named after its leading leap-step, in Italian, saltare. Of course, the composer credit for this song goes to the ubiquitous Anoymous who rules the bulk of any Early Music bin selections, but a version of the song, aptly titled "Saltarello," was made famous by that eclectic, neoclassical Australian band better known as Dead Can Dance (and if you've ever been to a Renaissance Faire or a Goth gathering where "dark" world music fits the rotation then I'll bet you a flagon of mead you've heard it before). Another version of the song, performed by Corvus Corax --- an outrageously outfitted German band who champion medieval music and authentic instruments, seems to share the same vein Espvall and Batoh tapped to give their "Little Blue Dragon" life. Espvall and Batoh's take on the Black Death era romp pounds out a feverish pace with traditional instrumentation at the forefront and electrified psychedelic meanderings fleshing out the background. It's really the perfect sort of aural "pants-ing" I felt I needed as a listener expecting to hear an extension of Espvall and Batoh's past works, only to be blown away with their new attitude. 

I still can't believe that summer has already started. I am sure that it will be over even quicker. Soon it will be Christmas time again. The year is a little more than half over and I have been back in Los Angeles for about 6 months now. The boyfriend just moved down last week and it has been a busy couple of weeks for me, but it has been a bit slow for the new releases the last couple of months. Some big things are right around the corner for the next couple of weeks, but not so much for this week or the last. Last week was the week of the debut album for the Black Kids and the release of the second album by CSS. There was another Nine Inch Nails album and a new Dr. Dog.

This week is basically a new Neil Halstead album and a new one by Rick Springfield. Not a very big week. I am a huge fan of both Slowdive and Mojave 3, so I am a bit excited about the new Neil Halstead, but I have not yet heard it. Next week we get new albums from both The Faint and Conor Oberst from Bright Eyes. They both were on the label Saddle Creek Records up until these new albums. Bright Eyes put out a ton of albums on Saddle Creek and helped to make a name for the label, but he has made the jump to Merge Records for his new solo album. The Faint decided to go with their own new label for this new album. Conor is one of those guys you either love or hate. Most people I know have some passionate opinion about him. I know I have talked about this before. I was on the hating side for a bit, but crossed over to the fan side about 4 years ago. Conor Oberst will also be playing a free show at Amoeba in both San Francisco and Hollywood. The Hollywood instore is this coming Monday, August 4th. We will also be selling the album the day before it comes out since the actual street date is the day after the instore. He is playing at the San Francisco store 3 days before the album comes out, on Saturday August 2nd. There will be tons of people at both these instores, but I think it is worth dealing with the crowds just to see him perform live. It might convert you to a fan as well.

So I saw Lisa Gerrard last night at the Palace of Fine Arts. I can't really imagine a better place to see the magical Lisa Gerrard than the Palace of Fine Arts. Besides maybe the Paramount theater in Oakland, where I last saw Dead Can Dance perform a couple of years ago. I usually like to get to the Palace of Fine Arts early so I can walk around and enjoy it, but we didn't have enough time and it was really cold last night.
My friend Rosemarie joined me for the show last night. I couldn't think of a greater person to join me for the show. I have not seen her enough lately so it was great to be able to hang out on such a magical evening. We both love the Dead Can Dance and Lisa Gerrard, so we were very excited for the show.

Seeing Lisa Gerrard is sort of like going to church. Her fans are all very devoted and would do anything for their Lisa. And it seems she would do anything for her fans. She really does give back all the love to her audience. You can just feel the love in the crowd. I really do love seeing Dead Can Dance perform with all their magical different instruments. Its also great to see the vocals of both Lisa and Brenda Perry go back and forth. But it was nice to see Lisa all by herself last night. She was joined by one of the members of Dead Can Dance, John Bonnar on keyboards. She was also joined by the guy who plays on the new album on keyboards and piano.

Her shows really are very magical. The feeling you get from the show stays with you years later. Her voice is amazing and really takes over the whole theater. I was literally staring at her trying to imagine how she makes her voice do the things it does. Her voice quickly changes tones and styles in mid song. Its like a whole chorus is coming out her mouth. She played a mix of her new album and her previous solo albums. The best of which is her first solo album, "The Mirror Pool."