Archive for gothic ethereal

Fools and Orphans~Ninthspace album review

Posted in Fools & Orphans, Music Reviews with tags , , , , on March 1, 2009 by Sister Cleophas

Jo Gabriel: Fools and Orphans

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There are moments in Bulldozer, the opening song from Jo Gabriel’s new album, when Stephanie Rearick’s trumpet heralds the words ‘why should I love you’. These brief but beautiful events mark the most striking difference between this album and its more elaborate (if not immediate) predecessor IslandFools and Orphansdraws away from traditional arrangements to let the songs breathe, and in doing so allows Jo to continue distinguishing herself from the current ’..and piano’ crowd (I like Emm Gryner’s term ‘contemporary nonsensery.’) Few artists have the ability or opportunity to be this daring (mostly down to record label pressures, no doubt) and this successful. Fools and Orphans shines from its own darkness.Kristin Hersh’s The Grotto was an album born out of loss and the resulting reflection on life and relationships. Fools and Orphans is different – its main theme is also loss, but barely offers sanctuary. The Grotto tears me apart and then rebuilds me; Fools and Orphans does the former then leaves a lingering sadness, although it’s more compelling as a result. The open arrangements, often rhythmically fluid and spontaneous are charmingly beautiful and ideal for such stories. It’s up to us to fill in the blanks, to empathise and to draw comparisons with our own lives. Continue reading

Artists limited addition of Fools and Orphans will be released May 7, 2008

Posted in Fools & Orphans, News with tags , , , on May 3, 2008 by Sister Cleophas

Check back for more details!

Stay Tuned:”Hunting Down The Ceremony”,”Down The Rabbit Hole Part 1″, and “The Weeds Have Grown So Tall”

Posted in projects in progress with tags , , , on May 1, 2008 by Sister Cleophas

And I am currently in the studio working with musician/engineer/filmmaker Wendy Schneider, pulling together a collection of songs that will culminate into an album called “Hunting Down The Ceremony” that I’ll be releasing Summer 2008. 

Hunting is a gathering up of many never before heard tracks, a few new things and songs that have been scattered to the winds on either compilations or currently part of various film soundtracks.

Being particularly prolific these days, I am in the process of developing another album through my own Ephemera called “Down The Rabbit Hole“. This album will be a collection of my first never before heard songs, written between 1990-92. These are the original recorded demos exactly as I sat and played them from their inception in my boxer shorts, drinking coffee at my piano at 3am, cats walking about the house, often on or across the piano keys and me…finally tapping into the identity that was trembling below the surface. It was the time of my pomo epiphany, when I discovered my true artist within. Once I’ve dusted off these relics, I’ll be releasing them as a limited lo fi artist’s special issue.

And presently in the Mothlight laboratory on the slab, is a song starting to breathe called The Weeds Have Grown So Tall- which I am hoping with the confluence of vital forces will entice the brilliant Darius Greene to join in and add some stitches and sparks to!  until “It’s Alive!”

Fable Honey: SepiaChords Playlist 4.27.08

Posted in Fools & Orphans, Radio play with tags , , , , , on April 29, 2008 by Sister Cleophas
Sepiachord 


Is Online 

Apr 28 2008 11:09 PM 

Playlist for the Week Ending 4/27/08

Del Rey and the Sun Kings: I am the Light
Ex Reverie: Cloud? or Smoke?
Huxley Vertical Cabaret Nouveau: Acquiesce 
Jo Gabriel: Fable Honey
Juan Prophet Organization: Birthday Dirge
Grand Archives: Miniature Birds
R. Crumb & His Cheap Suit Serenaders : Singing in the Bathtub
Demonika and the Darklings: Who?
Joe Black: Curl Mcgee
Th’ Legendary Shack Shakers: Bible, Candle & SKull
Munly & the Lee Lewis Harots: Jacob Dumb
Jill Tracy: Torture
Miss Moonshine: It’s Only a Paper Moon
Slim Cessna’s Auto Club: That Fierce Cow is Common Sense in a Country Dress
ECPE: Winter Song
Princeton: Leonard Woolf
Thomas Nola et son Orchestre: Gloomy Sunday
Make a Rising: Your Karmic Obstacle
Orion Rigel Dommisse: Alice & Sarah
Paul Weller: Early Morning Rain
Ego Plum & the Ebola Music Orchsestra: The Chinese Carnival Show
Festival: Blown Light
Oval Portraits: Crying Windows
The Other Flesh: Waltzing Down the Road to Hell
Sterilize Stereo: Give it a Rest
Fern Knight: Sundew
16 Horsepower: American Wheeze

Mick Mercer has entered the room…

Posted in Music Reviews, The Amber Sessions, The Last Drive In with tags , , , , , , on April 24, 2008 by Sister Cleophas

Mick Mercer granted me the honor of reviewing both The Amber Sessions and The Last Drive In~ And in his inimitable writing style, he graced my work with a very complimentary testimonial indeed~

I am feeling very grateful these days for the incredible praise that both these albums are attracting from various people who I greatly respect. A thousand kisses and sunflowers cast their way!

Mick tells that a review of Fools and Orphans is immanent…

I think I’ll go buy myself an ice cream now.

Here are his reviews of Amber and Drive In:

http://mickmercer.livejournal.com/836856.html

http://mickmercer.livejournal.com/835071.html

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Rather than answer Mick’s query’s directly since he’s most likely busy writing some fantastic review for some particular artist~ I thought i’d post a little explanation for a few of the things he mentioned amidst his covering both The Amber Sessions and The Last Drive In~ first he wondered if goats dance and if I had some knowledge of that! Well yes they do, and I did! In fact my publishing company Dancing Goat Music, is named after these magically lyrical creatures who inadvertently discovered that lovely nectar of the gods Coffee! Here is the link and the legend as it goes:

http://www.dancinggoats.com/Home_C277.cfm?CFID=6926294&CFTOKEN=79250333

The Legend of the Dancing Goats®

Coffee was first discovered in what is now called Ethiopia. According to legend, the area’s remote highlands were home to a goatherd named Kaldi. One day he noticed his goats dancing and prancing after eating the small, red fruit of a nearby shrub. Not wishing to be left out of the fun, Kaldi ate the coffee cherries and soon he was dancing with his goats!

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Now concerning the following pondering:

“in the bump of night”, which is a lovely phrase I haven’t heard before. I have no idea how this ties in with the cover imagery; perhaps not at all, perhaps with blistering clarity for those who understood.

My love of horror films and the lost art of the genre is getting to be pretty well known amongst my fans~and how I long for that past time that once gloriously showcased some of the more off the beaten path style films, the cult, the b movie, etc~ The Last Drive In is my homage to that nostalgic time when we piled into our cars, dressed in our pajamas and watched all things gruesome and unreal jump off the big screen at us while we cowered in the back seat of dad’s chevy!
I liked the idea of saying The Bump of Night instead of a bump in the night! And I am so thrilled Mick liked it too!

‘There’s A Crack In The Wall’ is giddy and light-headed, with the spectre of Lucy In The Sky With Diamonds circling, which I accept must be accidental. A scrawny beauty, this is like an eerie breeze commanding the piano with its lid left open”

Yes, the essence of that Lucy effect came quite naturally to the piece as the entire album felt channeled to me~ It struck me the same once it was done, but i really liked it’s attitude and felt that it should remain as is~ Again, I am thrilled that Mick sensed it’s spontaneous appearance in the song~ and i love his term
Scrawny beauty! he does know how to turn a phrase~

thank you again Mick~ i hope this clears up a few of the scratching one’s head moments~

Cheers all~ Joey

Posted by Jo Gabriel on Saturday, May 03, 2008 at 8:20 PM

Of Love and Ether ~ Ninthspace review of track off Fools&Orphans

Posted in Fools & Orphans, Music Reviews with tags , , , , , , , , on April 23, 2008 by Sister Cleophas

Jo Gabriel’s forthcoming Fools and Orphans could well turn out to be her signature album. Whilst it bears elements from her previous releases and may be open to inevitable musical comparisons, what’s exhibited in these new songs is fiercely individual and nothing short of staggering: musically inventive and lyrically impressive.

Like all of the tracks, Of Love and Ether has this paradox of richness and sparsity – in this instance bringing together a duo of string instruments (and birdsong) to join Jo’s piano and unique voice in a delicate yet powerfully emotive poem.

Fools and Orphans has an artist’s limited release from 7 May through Ephemera and will also be released in Winter 2008 through Kalinkaland.

Jo Gabriel featured/ORGAN SHOW playlists

Posted in Radio play, The Amber Sessions, The Last Drive In with tags , , , on April 21, 2008 by Sister Cleophas
 
:

Organ show with Sean O on RESONANCE 104.4FM, Sunday APRIL 6th 2008, 9.00pm – On your FM dial all over London and worldwide via www.resonancefm.com. 

2: JO GABRIEL – Masque Of The Red Death (Dancing Goat) – She from New York, she recorded these two stunningly beautiful albums of four track in an empty theatre, both of them radiate with colourful warmth. Piano led instrumentals laced with wonderful textures and delicious detail – www.jogabriel.com or www.myspace.com/jogabriel

11: JO GABRIEL – The Sun King (Dancing Goat) – See track two, this time a track from her Amber Sessions album… both the albums are reviewed in more detail with this week’s Organ

18/Outro: JO GABRIEL – Passing/Arriving (Dancing Goat) – See track two, another track from her Amber Sessions album, this time just a final taste to leave you with….

God Grant She Lye Still ~SepiaChord playlist ending 4.20.08

Posted in Fools & Orphans, Radio play with tags , , , on April 20, 2008 by Sister Cleophas
Sepiachord    Apr 20 2008 9:56 AM      

Playlist for the Week Ending 4.20.08

juan Prophet Organization: Factory
Miss Moonshine: It’s Only a Paper Moon
Slim Cessna’s Auto Club: Boom Magalina Hagalina Boom 
Ex Reverie: Second Son
Make a Rising: Peaceful Paths
Voltaire: Anastasia
Huxley Vertical Cabaret Nouveau: The Ballad of Lettice Finding & Oscar Cutlet
Priscilla Hernandez: Fairy Tale
ECPE: All Tomorrow’s Parties
Mad Tea Party: Do You Have What it Takes?
One-Eyed Doll: Suicidal Again
Walter Sickert & THe ARmy of BRoken TOys: Safe Hospital Bed (Sweet Toothless Smile)
The Other Flesh: Waltzing Down the Road to Hell
Sterilize Stereo: The Great Division
Jo Gabriel: God Grant She Lye Still
Alessandro Moreschi: Ave Maria
Jill Tracy: Sell My Soul
Ilya Monosov: The Beauty that You Are
Festival: Zebulon
Vermillion Lies: Global Warming
Fern Knight: Magpie Suite, Part III
Paul Mercer: L’Etoile de Mer
Kim Vermillion: The Day We Met 
Oval Portraits: Crying Windows
Demonika and the Darklings: Cry Me a River
Tom Waits: Bone Chain

   

Ninthspace review of “Island”

Posted in Island, Uncategorized with tags , , , , on March 22, 2008 by Sister Cleophas

MARCH 22 2008

Island, Jo Gabriel’s fourth full-length album (released in 2005) is probably an ideal introduction to her work because it holds new songs and others from earlier releases. Jo takes the indulgences of This Mortal Coil and weaves them inside traditional and otherworldly piano pieces, accompanied by strings, fretless bass, guitar, her sometimes unusual vocals and Linda Mackley’s perfectly balanced percussion. Whilst the results are obviously off-centre, they remains deliciously melodic and listenable even if the lyrics travel to other places.

Frank’s Blog~a wonderful compliment!

Posted in Uncategorized with tags , on March 7, 2008 by Sister Cleophas
 

 

MARCH 07, 2008

 

 

 

 

 

The more I listen to her music (Jo Gabriel) and watch these videos (more at her YouTube Channel) jogabriel88, the more taken I am.

Years and years ago I saw Kate Bush perform on some cable channel. This was before she became legend. I’d never heard or seen anything quite like it and I’ll never forget the flavor of that rush.

Listening to Joey is the only time since then that my palate has tingled quite the same.

She is a brilliant constellation in a sky of sound
A way to find home, a way to be found

Seems people don’t ’like her’ or ’not like her’ — but rather when they’re plus’d they love her madly dearly.And very plus’d am I — oh yes.

 

Frank~

Orkus Magazine Interview with Jo Gabriel 10.2005

Posted in interviews, Island with tags , , , , on October 5, 2005 by Sister Cleophas

 

 

 

First off all I want to know more about the person behind the name „Jo Gabriel“. I have read that you’ve been raised in a highly musical respectively artistically family, which also comes from different parts of Europe. Is that correct? It would be nice if you could tell something about it.

Well, my mother had studied ballet as a child at the American Academy of Ballet. And shortly after I was born she became very involved in Theatre. She is also an unbelievable painter. This definitely contributed to my growing up in a very colorful and dramatic atmosphere at home. I was surrounded by creativity and culture. My mother would either serenade us by singing show tunes or standards or there would always be some vinyl record playing through out the rooms like Puccini, Brahms, Liszt, Chopin, Rogers and Hammerstein, Sondheim, Cole Porter, Edith Piaf and so much else. My older brothers listened to a diverse range of contemporary music so I was enveloped by every style imaginable. So much wonderful music had underscored everything in the house. I started playing the piano at age 8 amidst all this stimulation.

My immediate relatives were from the Ukraine, Austria and Istanbul. Although most all of my relatives are gone now, and I can no longer ask them to relate any interesting stories to me, I remember my Grandfather speaking of our family’s origin as being “ Roma” Gypsies of Europe. My Aunt Edith escaped Kiev with the aid of a Cossack who had fallen in love with her. I recall her having the most brilliant blue eyes. They could pierce you with a glance. On our frequent visits to her house as a very little girl, she would read the Tarot cards to me. She died when I was still very young but the impression that she has left with me was that she was very otherworldly and magical. I think somewhat that it is this ancestral energy that pulses through me, and transmits or helps to manifest the dramatic and arcane in my work.

Would you say that these different roots might also had or still has some influence to your music?

Yes, without a doubt , although I believe that your environment does contribute to ones trajectory, I truly feel that it is the silent hidden seeds of our inheritance that sublimely influence who we are.

What means music to you? I assume beforehand that you, as a musician, love music. But what exactly fascinates you so much in music and in making it in the first place?

Music resonates with me in a very sacred and powerful way. I think that music is the voice of the gods or more accurately the universe. It is how the universe communicates it’s thoughts. It is its language ,its dialogue. It is also how the soul speaks. It is how we learn to listen to what exists beyond the traffic of thoughts and emotions we clutter our minds with. I would not have wanted to do any other thing than be an instrument that creates the conduit between the heavens and the heart. It is the ultimate release. Music is how we let go of our physical and mental constraints and allow the spirit to exhale and exalt. 



If I am informed correctly you “only” wrote music without singing by yourself in the first place, right? What changed your mind and let you take the micro by yourself?

Yesinitially I wrote these instrumental progressions on the piano, almost neo-classical in nature, but later on I began expressing myself by writing pop ballads or romantic songs. I sang these with the intention of selling them to other artists to sing. I just considered myself a songwriter only. So I would record rough demos for other vocalists to use as a reference for themselves to learn the song before recording it. Usually the vocalist would ask me why I wasn’t recording the song myself? I guess my voice was pleasant enough for people to listen to, but I never felt that I had the actual pipes of a “Diva” to call myself a singer. I still don’t. I really think of myself as an artist.

It wasn’t until the tempest broke and I had my first pomo epiphany shedding the superficial skin that I was wearing as a songwriter of generic sentiment that I started creating pieces of work with substance and gravity. Now, I found it imperative to perform my own work, because my voice was an extension of the emotion from which the songs flowed. And it was very much like a deluge. The work just came flooding over me, and I found that I had so much to say. And though I know I am not as powerfully endowed to sing in the way other vocalists can, I trust that I do have character and authenticity because I really feel what I am singing. It is all knotted together in a fret work that shows the total picture of what I am saying, how I am really feeling and who I am. The voice, the words, the music is one entity, one collective ceremony of spirit.

As far as I know your first music genre was more pop oriented. How did it come to the music stile you do nowadays? What kind of influence had this musical “new orientation” to your lyrics?

I guess I kind of answered this question a few moments agoI didn’t feel the inherent passion and connection to the pop ballads in the way that I feel about this work which manifested itself with me when I was my most empty, open, and longing for self emergence. My music became more reflective and so by nature it begs for words” lyrics” that support that idea. You can be too self absorbed with this type of music but with pop ballads there is a tendency I think, to focus on another person in relationship to your place in the world with them. I wanted the focus to be “universal” and speak to all things in life not just the co-dependencies of love. The lyrics now carry the language of emergence, curiosity, mystery, journey, rebellion, exposure, transformation and sometimes bitter honesty. This is the new language I chose to speak and I think the lyrics definitely convey that.

Do you tell stories with your lyrics or do you use experiences you made personally? How do these lyrics develop? It is told often to me by other musicians that they use little “lyric parts” which get collected randomly. Others are writing their lyrics with a certain goal or objective and about things which affect them in that moment. How about you?

I have songs that are stories or rather tellings of how a certain event or situation effected me emotionally. A lot of my work is infused with referential dialogue. Some lines are tributes or fragments of a detail of something that is familiar to me. Or it might bare the essence of some idea or mythology that resonates with me. Or there are several meanings that I imbue a specific lyric with. Words are so very powerful in general. My lyrics are like my melodies. They are most often stream of consciousness, spontaneous and channeled from that place where “dreams” animate in our subconscious and like those thoughts and images  the lyrics just expand and contract in their own time and space. I don’t have much fore thought that goes into it.
 
Is there not the danger to show too much of yourself when you use your own feelings and fears for your lyrics or is it this openness which makes it to a “good lyric” and touches the hearers on a certain level?

Of course there is always the risk of laying bare your most unsheltered self. You are vulnerable and naked when you ask people to witness you as you invert your whole life story through your art. But I think that this kind of genuine innocence is such a beautiful thing. And I never dwell on or fear other people’s judgment upon my grave honesty. I strive to be real. I want to connect with the listener on that level. Like Jung had said “ The meeting of two personalities is like the contact of two chemical substances, if there is any reaction, both are transformed”

And how about the music to these lyrics? How do you create them? Do you write them first and after that create the music or is it so that you have a melody already in your mind and write the lyrics in response to that?

textJust like the lyrics the music manifests itself from that sacred place of the unknown. I really don’t like to manufacture my music. I like revelation. I don’t like to be too self conscious of the melody. It’s similar to the blank rune “ the unknowable” I like to create when the motivation is potent with possibility not contrivance. 

Does „Jo Gabriel“ see herself as a solo artist or as a band? I would be happy if you could introduce the other musicians briefly.

Yes, I have always been a solitary artist, who has had the wonderful fortune of working with some great musicians on the periphery of my vision. I would say though that my longest and most enduring collaboration with another musician would be my great friend and drummer Linda Mackley. She is a Titan. She is the heartbeat and pulse of my work quite often. 

Do they have some influence on the music and lyrics you have written respectively do all of you also write the music together?

I write all the music and lyrics exclusively myself, and when there is another musician contributing their performance to the process of the production, I trust that they will have a signature style that will offer an added texture to the particular song they are working on. Sometimes I will guide them with what I hear as the direction I would like it to take, but most often I work with musicians who can either follow my sensibilities about the music or present me with something wonderfully unexpected and inspiring. They bring their unique voice to my work. Linda’s drums bring an element of dynamics that create a driving force within the flow of my fluid piano. It’s like thunder and rain. We sort of sculpt a landscape for each other to wander and explore. It is so very incredible to work with her.

From what kind of music stile or stiles do you get your influences?

Believe it or not I don’t submerge myself in a lot of music looking to draw inspiration from it. It’s more organic with me. I pull from the within and I wait for the confluence to happen. There are definitely those masters of music whose altars I worship at. But I wouldn’t say they influence me. I would say they affirm my belief in the idea that music comes from a sacred place. And that when it is truly plugged into the universe’s artery, it can move me to a profoundly altered emotional state. Kate Bush does that for me in an epic way.

I have read for example that you have used music from Hildegard von Bingen for one of your albums, what I personally find very interesting. Did you discover this music “by chance” or are you interested in medieval song collections?

Both, are true. I feel my discovery of Hildegard was an act of synchronicity. I feel very drawn to her somehow. And I have always been moved by Medieval and Gregorian music.  

I have also read that you are very interested in horror movies. What fascinates you so much about this film genre? Have you thought about composing music for such a film or did you even already do it? 

I love that you asked me about thatOh well this could be its own separate interview (hehe). Ok in one of those gravely honest moments, I will confess that when I was growing up the kids used to call me “monster girl”. I always identified with “the other” or otherness. I just have an intense appreciation for the art of Horror. In the classical sense. I don’t have much use for any of the contemporary films that are out there lately. I just can’t embrace them at all. They are too violent in an inherently ruthless way. I grew up watching gothic and macabre films. The work of Val Lewton and Mario Bava are visually nightmarish landscapes that are hauntingly beautiful and surreal. Curtis Harrington’s “horror of Personality” with his characterizations of the fractured mind and injured soul that do extreme harm in order to define themselves, but never quite succeed. The grand days of Universal and the timelessly atmospheric and socially conscious creep shows of the 70’s. There are such high ideas not so hidden in the genre of horror. Horror explores the world in a very poetic way, though dark and disturbingly troubled, it examines the details of our existence by way of the fantastical, fable, allegory and the mysterious. These themes chosen by film makers make them cinematic philosophers, anthropologists and social voyeurs. 

I would really like to compose for film. Actually my upcoming project that I am hoping to release in 2006 The Last Drive-In is actually an homage to those themes from horror films and the sensations that they evoke in us. Drive –In strives to conjure those feelings, not so much to tell a specific story, but to re-create what a distorted shadow or an intense moment of mystery might sound like if it had a voice. With tracks like “Aren’t you his mother. Rosemary?”, “There’s a Crack in the Wall”, The House On the Hill”, and “Sweet Charlotte”. These pieces are very cinematic and could be used as a soundtrack in a film.

Besides music, are there also other areas in which you are interested in and for which you spend some of your time?

I love the C’s. Cinema, (of course classic cinema.) my Cats and all cats. Coffee, Canoeing on my Creek. The art of Ceremony (pagan).Companionship ( of great friends)
Communing (with the natural world, meaning the earth) and Conjuring (the elements and the joy of living simply)

Every musician has the dream – so I guess – to concentrate himself completely on his music and to make a living with it – without any disturbances. Did you accomplish that dream for yourself?

I think that just being able to say that I have created and still yet create music, whether or not a few or thousands ever hear it, is an accomplishment. To follow your hearts desire.

Like Robert Louis Stevenson said “To know what you prefer instead of humbly saying “Amen” to what the world tells you you ought to prefer, is to have kept your soul alive.” I feel like my soul is very much alive with tribute and observance and I never ceased being an artist , even during my most obscure days.
This I think is the dream realized.

I regret that I wasn’t able to hear very much of your music. I also couldn’t even hear your new album which I didn’t get until now (I guess I will get it in the moment that I send this mail to you ;-)) How would you describe your own music? Many people see similarities in your music to that of Tori Amos, nevertheless you did this kind of music before she started it also – I guess. Is that right?

Oh yes, I definitely was developing my identity quite insulated from what Tori was doing. I didn’t even know who she was until someone else heard my work and made the comparison. I think it is natural to draw comparisons between artists that are not mainstream and very theatrical and poetic. I don’t know how to identify my music in terms of category. It’s very melodic and dynamic. Dramatic and sincere. I believe that it has it’s own unique vision.

But now on to your new album:

What’s the meaning behind the album title „Island“? Is it the wish for withdrawal or rest? Or does it has a meaning like the famous sentence from Arthur Koestler: “Every person is an island”, so to say the sense that every human is alone at least?

I think it is all of those sentiments. The feeling of alienation and otherness. Of retreat and exile. But, to make clear something too. It’s not that I see myself as disconnected from humanity. Just as you said that sometimes we withdraw and so we feel that we exist on the periphery of it. 

Is „Island“ a concept album so that the thought which stands behind it is perceptible through the whole album?

Again, I think the album’s overall concept will evolve as it presents itself to people. It might mean something different to everyone. And that is how I prefer it. I would never impose my expectations on anyone. I hope that each person draws something personal from my work. As long as it moves them in some way I am grateful.

The idea of isolation is not necessarily a thread that runs throughout the album. Sometimes I myself isolate in order to re-embrace the whole of things. And it might seem like the idea of isolation is one continuous thought here, but I think there are several other themes that offer themselves up as well. Because some of the songs for me are entirely concerned with connectedness and in fact the irony and the desperation to reach out and make that connection. 

It would be nice if you could tell me a little bit about the single lyrics (of cause not every lyric ;-)) and their background, because – as I mentioned – I wasn’t able to hear it until now.

Objects in the Mirror – is actually an excerpt from a full length song. Eventually I would like to re-release it in its entirety. The full piece has some wonderfully lyrical imagery. It is for me about the relationship we have to ourselves, in terms of the perceptions we have of ourselves. How we often never seem to catch up fast enough to meet ourselves head on in the mirror. How clearly do we really see our true self?

“I’ve been sneaking up behind myself, haunting my life like a good little ghost. I’ve been faithful to the myth, belonging to the words, when I never moved my lips”

Mother May I- is very much a self expose in that it reveals some harsh criticisms of how a person can have their identity devoured by someone else’s expectations.

“Mother may I have this dance, please let me lead for once, the sandman’s here for his recompense. He’s been waiting to take me to bed, the lamb’s in his bed now, the devil in my head.”

Wash Away- Speaks of the wanting to belong and the prayer not to be left behind. In asking to be cleansed of the sadness that isolation breeds and the longing for recognition and sanity. 

“I hear the water run, far away, but close enough to drown yourself in. I died a million times, in your deepness.”

Little Birds and The Simple Truth– are songs of irony and contradiction. 

“I don’t believe in prophecy, I don’t believe in pressure, I don’t believe in blindfolds they keep on bringing us together.”

“We all dive into lake obsession, but no one really wants to drown”

Tinderbox- says that desire is flammable!

Broken-  speaks of communication. It is also about the “reaching out”.

How would you describe the musical development in relation to you last albums?

Well I worked with a few new musicians this time that really added an incredible element to some songs that I had previously released but still love fiercely.  And I really like the idea that there are several versions of the same song. It’s like the essence of my music is just wearing different masques. The tone of “Island” is very dreamy and misty. I get skewered through the heart every time I hear Matt Turner’s cello. He is a master. There is more of a sparseness to the approach of several of the songs. It allows the theme to breath a little differently than the last versions on the album Tinderbox released in 2002.
So I am not sure if the work developed in the sense that it has evolved into something quite new, I would say that it took a lateral step as if this were a dance.

Did you recorded the album with your „well-tried” team again?

Well of course I had Linda Mackley with me on this project in the recording studio. She brought that characteristic primal energy that drives my melodies. She is so dynamic and poised. She is a powerful drummer and very romantic in her approach as well. 

And, for the first time, I had the unbelievable privilege to work with Matt Turner, who told me he would tour with me if he is able to. ( oh, how I pray he is able to )
His contribution was extraordinary. His improvisational cello created the voice of lament, desire, possession, and transcendence on the album.

Also a new ingredient in the mix was recording with Wendy Bugatti. I get hit with waves and tremors when ever I hear her electric guitar on The Simple Truth.
She’s a provocative, gritty and earnest guitarist. 

Florian Walter’s guitar work on Tinderbox is so warm and lush and embraced my piano like a deep kiss in a really hot room. It courted the melody to it’s feverish conclusion.

And of course Harald Lowy laced the album with his dreamy electronics that at times lull me into a hypnotic meditation. Broken seems like it evolves out of a haunted music box in an old abandoned house.

What moment in general is the most exciting while you create an album or song? Is it the one in which you find the last matching tone or text part at least or the one in which you hear the ready made song the first time directly from CD?

The whole entire process is magical to me. From the inception of writing a song that feels right to me, to the process of recording and then releasing it out into the ether. 

How important is the graphical arrangement of your albums to you? Do you handle this by yourself or is someone else doing it for you?

It’s all important. And again, there has to be continuity and authenticity. It has to represent who I am. The last two album’s artwork for Tinderbox and The Unreachable Sky were designed by me. I didn’t design the artwork for Island but it is just absolutely beautiful.

Will there be live gigs in Germany after the album-release?

I really hope toI have wanted to come to Germany even before joining Kalinkaland. Perhaps in the fall Linda and I will manage a small tour and it would be a great honor for me to perform there. My friends are starting a “help send Joey to Germany fund” I will find a way. Somehow. 

What can the audience expect at these concerts? What do you feel when you are standing on the stage and “present” your songs to the people?

I have been told that I have a very ethereal and charming persona on stage and even just in my ordinary waking life. I suppose I might have a presence. I am very intense, but I am also so very simple and real. I think I project a lot of humility and gratitude. I hope that translates as grace. I am not enigmatic like other performers. I really think of myself sometimes as a feral child in the woods. I am naturally theatrical but not by device. It came with my upbringing. When the iron butterflies start banging around in my stomach, I try to just allow providence to channel itself through my shyness and self-doubt, and pursue the mission so I can perform. And when I am really connecting with it emotionally it moves me to tears. I hope I move people. I hope like the lyrics in Broken “ I’d like to give you something that you can take away”. I wish people can take away something from my music and my performance that causes them joy or recognition of an emotion. Or release of some sort because they identify with my work.

So, that’s all for now. I hope you had some fun by answering these questions. I for now am waiting with tension for your album and your answers. ;-)

Doreen and Orkus Magazine, thank you so much for giving me an opportunity to talk to you.  I appreciate it so much. And hope that you liked hearing from me.

 

 

Zillo Magazine Interview with Jo Gabriel October 2005

Posted in interviews, Island with tags , , , , on October 1, 2005 by Sister Cleophas

 

 

With which kind of music did you grow up? What did inspire you to make music on your own? Did you have classical training on the piano?

Although it is often assumed that I am classically trained, I resisted any formal instruction as a child and really just allowed a naturalness to my journey so that I could feel unconstrained and impulsive. I allowed my intuitions to breathe. 

I grew up in a very theatrical atmosphere. My mother had been a ballet dancer as a child. She is also an amazing painter. When I was very little, she had begun to immerse herself in the Theatre. I was fascinated by the ambience of the stage. My mother always encouraged my imagination to flourish and so it did run rampant throughout those early years.

I was allowed to stay up late and devour the wonderfully eerie horror flicks of my childhood, which instilled my awe and wonder of the mysterious and the unknown. And the smell of Turpentine often permeated the air in the house when my mom would decide to paint late at night. Usually, I felt really isolated by the outside world growing up, but the environment in my house was ripe for developing an artistic sensibility. And so I started playing the piano. It was like a revelation and a rescue from anything ordinary that threatened to get in. Continue reading

various review excerpts~Island, The Unreachable Sky!

Posted in Island with tags , , , , , on September 8, 2005 by Sister Cleophas

“New York native Jo Gabriel produces dark, moody and mystical songs pulsating with brilliant harmonies and full of rough edges. For fans of romantic wave-pop, paired with piano – “Island” reminds of 4AD’s This Mortal Coil with its innate sense of strength and warmth.” (Darklight Nocturnal Entertainment review of Island)

“It is first Jo’s voice that drives shivers through you.” “She’s like the musical miracle of Kate Bush, or Tori Amos”. “Her piano is dreamy and opulent and always in harmony.” ’A touch of Romantic Dark Wave that strokes the soul”. (Amboss Magazine review of Island)

“Jo’s piano playing is absolutely stunning, rich and passionate…the delicate quality of her supple, multi-octave voice glimmers with fragility and emotion throughout…” musicaldiscoveries.com

“Gabriel’s a masterful pianist and her tunes are haunting.” Collective Sounds

Island-“This truly stunning album features the impassioned, distinctive voice of Jo Gabriel against a very moving backdrop of piano and cello. Jo Gabriel is an artist of great talents, making music that is individual, sophisticated, beautiful, and haunting!” Bliss Aquamarine (UK)

“…All the songs have a kind of explosive gentleness where you become pulled through has a strength that shines through and creates a melancholy dreamy sound…”(Blacklight Magazine)

“…This unusually intense and impressive artist, connects the innocently dreamed voice and piano of Tori Amos with the atmospheric best of 4AD… This exceptional artist tells stories, fascinating and ever so fragile; full of emotion…This album is, like the label it describes, indeed heart warming and has unusual songs of full emotion…”( Oblivion Magazine )2005
“Jo Gabriel creates music, dark, tendencyful and mystische tones, which all listeners who love Kate Bush and Loreena McKennitt will be brought into its spell.”(Melting Close Magazine)2005
“Although there is a feeling of seperateness and reverie, this contemplative voice works like a lost dream. But the underlying melancholy of Island is never really sad.Rather it is amazing that this fragile music can cause so many emotions. The pervasive piano is for daydreaming where one’s thoughts can run free.” (Der Medien Konverter,2005)
“Jo Gabriel lies somewhere between Tori Amos and Kate Bush. A little more harmoniously than Mrs. Amos and more dreamy like Mrs. Bush. Musical also a certain proximity would be to be discovered to Loreena McKennitt. Something special at this plate is natural on the one hand this unbelievable great voice, but not only this voice.”( Astan Magazine, 2005)
“Beautiful, fluid melodies conspire with clean production, and the result is music that sneaks into the recesses of the mind–ethereal, yet catchy as hell. But at its core this is mournful music, full of questions and muted unease. And the delicate quality of Ms. Gabriel’s supple, multi-octave voice glimmers with fragility and emotion throughout.” Hannah Fury 2005
 Review of The Unreachable Sky 2003

“… Jo Gabriel’s new album is mostly piano instrumentals, but has some vocal tracks as well. There’s enough tension to ensure the instrumental tracks are brilliant. Gabriel’s a masterful pianist and her tunes are haunting …”(Anna Maria Stjärnell, Collected Sounds-2003)

 

 
 

 

 

 

 

Orkus Magazine~review of “Island”by Doreen Krase 2005

Posted in Island with tags , , , on September 5, 2005 by Sister Cleophas

“Jo Gabriel is a woman full of contrasts: “tough and strong” her appearance seems “so delicate and sensitive” both are true of her essence and the “visual impact” of her new album Island”

Island is inspired by the dark, mystical sides and moods of life, like a warm embrace caressing the listener with a spherical playful piano and synthesizer, a stroke of achingly expressive cello and guitar harmonies stroke the ear.

“Jo’s voice is the strongest instrument, that makes other accompaniments appear unnecessary, and which she uses in a manner actually like the voice of the universe. But it is a universal language that Jo Gabriel uses to perfection and which dominates Island Island is “By far one of the most beautiful albums of the year”.