Heather Dale, May Queen (Amphisbaena Music, 2003)

This CD is the direct follow-upto Heather Dale's The Trial of Lancelot, and like that disc, focuses on themes and images from the Arthurian legends. However, while the subject is the same, the approach is a complete departure. The Trial of Lancelot was a Celtic album. There were a few touches of jazz and pop, but most of them seemed to work to the detriment of the songs. Here, it's the opposite. The musical genres vary widely, through traditional folk, modern Celtic, rock, pop, and jazz, but this time, the variety of styles is a strength in the album. "The Kingsword", one of my two favourite tracks, is a magnificent fusion of electric guitar and legend-steeped Celtic. "War Between Brothers" is almost a lounge song -- one could envision the singer in a sequined dress a la Jessica Rabbit -- though, with the cruelty of civil war as its subject matter, the dress would have to be in mourning black. Others have criticised the flugelhorn in the background as turning it from beautiful jazz into sleaze -- I think the song would stand well without, but find it more of a bonus than a nuisance. "Crashing Down", my other favourite, picks up the pace with flat out savage rock, and is the perfect close to the album -- a pity, as there is one more song to follow it.

The lyrics vary more strongly in tone, as well; from the traditional "Tristan and Isolt" ("The fair-haired Cornish harper whose hands held steel and string / and Ireland's greatest treasure, borne like Helen cross the water...") to the vinegar modern-woman sharpness of "Prodigal Son" ("You think 'cause you're a big man now..."). There is a modern ballad of unrequited admiration, and an archaic song melding love with magic. However, the greatest strength of the lyrics is in their depictions of the flaws of the heroes -- Guinevere in "Exile" is sincerely loving, but also manipulative, stifling -- and, more, of the unblinded perspectives of the opposition. Morgan La Fey and Mordred both have their say here, and their points of view are familiar. We have heard people say these things, or said them ourselves -- and under the right circumstances, they'd be justified.

In "Crashing Down", Mordred speaks of disillusionment in leadership, and about ideals never attained. In the end, his own ambition and greed undermine his cause, but his opening remarks could be applied to not a few modern politicians and leaders.

In "Prodigal Son", Morgan la Fey speaks the part of a sister who has been passed over and dismissed once too often in favour of her famous relation. Of course, like Mordred's ambition, the detail that makes her villainess slips out in the later parts of the song -- her deliberate seduction of her brother, and the conception of his child. But until then, the voice of the embittered sister would ring true to many who've felt the sting of favouritism. Though their actions cross the bounds into wickedness, the motives of these two figures are understandable.

The album does have weaknesses. "Tristan and Isolt", the closing song, is a very traditional ballad retelling, with more elegance than heart. It feels like it could have been a touching song, with a better musical arrangement, but as it stands, it's overshadowed by most of the rest of the album. The title track is intended to tell the same story of longing for someone out of reach from two perspectives; Lancelot's, and Heather's own. The lyrics are mostly successful, and the "wistful little voice" Heather mentions in her liner notes comes through clearly -- however, while the music is pleasant, on the pop end of folk (or vice versa), it's just not as striking as many of the other songs. It doesn't leave the same deep impression.

Still, though each song stands alone, the cumulative effect is also refreshing. The more songs Heather adds to her Arthurian cycles, the more complicated each character becomes, and her version of the myth gains more depth than many novels covering the same ground. The more musical genres she draws from, the more the old stories seem to connect to the listeners.