Backworld - Good Infection

Label : Discalcula
Cataloge# : none
Country : US
Released : 2007
Style : Neofolk

Tracklisting :

01 New Light
02 Come Sunday Morn
03 Gentle Rain
04 Lady Of Sorrows
05 Damaged Angel
06 Between Two Worlds
07 Seeds Of Love
08 Immaculate Child
09 Three Reflections
10 Divine Love Befalls
11 What Lies Behind
12 The Infection

"Twelve songs compose Backworld's new record. Since 2001 this project, captained by Joseph Budenholzer had not released a new album. Before the pause, Backworld have been a proficient reference from the World Serpent Distribution, including four previous records and a live album. Joseph has been active during these years of Backworld’s silence, recording, working on a parallel punk-rock project in Glasgow and mastering the Backworld material. Nonetheless, the wait has been long yet fruitful. The album counts with collaborations such as Isobel Campbell (Belle & Sebastian, Gentle Waves), David Tibet (Current 93) and Drew McDowall (Coil). ‘Good Infection’ is also a more coherent and compact record than mostof their previous album. It is full of solid songs, great melodies and simple structures covered with numerous instruments.
'Good Infection' is definitely dedicated to Christianity yet it is in no way maniqueist. In a recent interview Backworld informs that the name comes from a chapter of ‘Mere Christianity’ by C.S. Lewis. The record is an close, creative, sometimes even pornographic thematic composition. Backworld are not sexual or aggressive as Spiritual Front (www.spiritualfront.com) can be in the religious theme, yet they are not orthodox. It is more as if the entire world they portray is defined by the teachings they have been subjected to and absorbed during their youth and adolescence, and how the adult mind reads them in a different, more complex and subjective way. Nonetheless, the record bleeds spirituality and awareness, a luminous and constructive way of rearranging the established truths.
'New Light' uses a double vocal line to create a thick and classically folk sound. The guitar and the vocals create the main melody line, yet the cello enters with the chorus, giving it a special approachable, earthly and endearing quality. The use of the chord instruments in the record is sublime, every time the cello breaks into a song in contraposition with the guitar it takes the song a step further towards something unique. There is no doubt that Backworld is one of those singular bands that make folk music with a vivacious, organic quality - they are open to the use of many different instruments instead of falling into the prototypes dark folk has moved into. The shadow of Current 93 moves hand in hand with Forseti's magnificent multinstrumentalism yet maintains the mellow, nostalgic nature of darker World Serpent acts.
'Come Sunday Morn' opens with the raspy and honest voice of Joseph Budenholzer, and is soon sheltered by a piano and guitar melody, ever changing and growing. It is a very folk song, catchy and energetic. They are capable of adding non-verbal, pop spirited vocal lines. More instruments are added, as is a double voice line and a female chorus. The organ sounds give the climax to a song that sways between intimate and epic, where the final chord sound catches a vibrant radiant quality. 'Lady of Sorrows' follows a more classical structure, risking less with the changes and mesmerizing slowly in a folk, simple and easy melody. The chorus comes in naturally, lifted by the cello. 'Lady of Sorrows' is tranquil, truthful and flows effortlessly from one strophe into the other until one is completely surrounded by its ethereal touch. It is followed by 'Damaged Angel' were the voice takes the spotlight over the music, that had reigned in 'Lady of Sorrows'. It is, in a Baroque way, a sort of conversation between music and voice: the slow and harmonically singing takes over and leads the song into a path - the music melody closely follows as a echo to let the voice move in again. Up until the melancholic chorus, of course, where diverse voice lines overcome the music and then unwind for the cellos to take over.
In the meantime, 'Seeds of Love' opens with a singular guitar melody: a perfect mixture of folk and a small seasoning of organic psychedelia. The reciting lays the structure while the chorus is a double tempo explosion in a mid-paced music loop surrounded by oscillating arrangements. 'Immaculate Child', whose lyrics were written together with David Tibet and Maya Harding, is a miniaturist collection of guitar notes and falling words. Every instrument's notes fall like raindrops into the wave like structure of the song. 'Immaculate Child' posses a fragile quality, close to vaporous yet strangely magnetic.
'Divine Love Befalls' is full of energy, starts almost 'in media res', closes into a folk pop condition. There are many changes in a song that moves from being almost recited to having a richly melodic chorus. The instruments are constantly coming in and out, each with its own thread, weaving a complex and beautiful shimmering and carnal pattern. Even if located near the end of the record, his song should be listen to attentively and savored... no tiring, please! 'What Lies behind' is softened and creamier, the notes are elongated and yearning -the voice lets each letter roll through the air and hang in space as long as it can be spread out. It gives an unearthly feeling to the song, keeping it dreamy. To close, 'The Infection' has strength and a complicated combination of veiled fury and chanting. The surprising drum work moves the song into darkwave, making it pretty clear that Backworld must not be taken for granted. This could definitely be played in all those illustrated post-punk venues between old Durruti Column and new Thatch Noir. Superb finishing kick!
There are two songs where the female voice has full protagonism. They are used as counterpoints for the surrounding compositions and in that roll achieve importance and interest. Nonetheless, personally I enjoy the male singing much more in this record. The female voice is a bit too airy and forced. It does, however, have a delicate quality to it - sort of like a chipped piece of precious porcelain that could be broken at any moment and it held with awe. The music that accompanies the voice in both 'Gentle Rain' and 'Between Two Worlds' is excellent, and manages to create a splendid atmosphere around the voice, such as the elfish music box quality of "Dream on the shore / we drift as if in sleep before we rise./ Dream on the shore/ I turn if just to see the path unwind." Of course, this is an opinion. I am sure many of you will find absolute pleasure in the female voice and will think the record worse if it did not include it... Anyhow, 'Good Infection' is a brilliant record, abundant with details, alluring and captivating that can be counted in one of the 'must-have's for the year that fades." Heathen Harvest

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