It would be too reductive to strictly classify Japan's Masaki Batoh and Swedish-born Helena Espvall as folk musicians. Batoh, of course, is best known for his 20-plus years as leader of the avant-rock mystics in Ghost, whose work has ranged from free noise to the hairiest of prog-rock; while Espvall is a classically trained cellist and member of Espers who has also played with such diverse artists as Eugene Chadbourne and Pauline Oliveros. Yet for their first collaboration as a duo, Batoh and Espvall clearly strive to find a common vocabulary, and do so primarily within the familiar comforts of folk-based material.
On Helena Espvall & Masaki Batoh, the duo have plotted an unlikely hybrid, gathering songs and instruments from a number of regional folk traditions. Five of the album's dozen tracks are interpretations of traditional Scandinavian songs, and Batoh also leads an abrupt detour to the Mississippi delta for a cover of Son House's "Death Letter". Despite the far-flung origins of the songs, however, there is a cozy sense of fellowship in these performances, as the two musicians sound almost effortlessly at ease with each other and their material. (Although in characteristic fashion Batoh does occasionally entangle himself while navigating the foreign tongues of the Swedish and English lyrics.)
If anything, Batoh and Espvall can in fact sound as though they are perhaps too deferential to one another, as neither seems eager to force the proceedings outside a certain comfort zone. As a result, the album-- while it might be end-to-end the frankly prettiest record in Batoh's career-- contains nothing that should startle listeners familiar with either the work of Ghost or Espers. On the traditional Swedish songs "Kristallen Den Fina" and "Uti Vår Hage", the duo play it about as straight as any two such intercontinental adventurers ever could. For these tracks, and on the bulk of the album, Espvall takes lead vocal duty, with Batoh contributing deft harmonies and accompaniment on guitar and variety of exotics.
From these traditional pieces, Batoh and Espvall cover the short distance to the original instrumental "Beneath Halo" and their lovely rendition of the anonymous medieval composition "Bicinium". Combining Espvall's expressive cello and banjo with Batoh's guitar--and just his general ineffable mystical presence--these pieces drift through the room like miniature violet clouds, ready to evaporate at the slightest brush. Espvall's vocals are double-tracked to delightful effect on "Kling Klang" and "Jag Vet En Dejlig Rosa", further heightening the music's impression of ancient kindred spirits joined at play.
Those seeking improvisational fireworks will have to make due with the epic album-closing instrumental "Kyklopes". Joined by Ghost members Takuyuki Moriya and Kazuo Ogino, on this track we at last catch a glimpse of Espvall and Batoh's more dissonant side. Here Espvall's cello provides a melancholic thunder and churn beneath Batoh's considered interjections of string and fluttering percussion, calling to mind the image of voyagers finally ready to steer themselves together into uncertain waters. Throughout the album Batoh and Espvall are able to cast hints of some distant unified global folk lineage, and hopefully their partnership can continue in some form to reveal and expand upon this shared ancestry's further secrets.
