Musala nan Elian - Glossolalia

A Closer Listen

Founding our own Glorious Chapels is a collective in the true sense of the word, shifting not only members, but monikers.  Founded in 2016 when the bands Stems and Anathème joined forces as The Chapel of Exquises Ardents Pears, the project then continued as the solo project Notre Dame de la Colline before entering its current incarnation as Musala nan Elian.  Each release, or Chapel, is a part of the whole.  This makes the title of the latest project, Glossolalia, particularly appropriate, as the term not only means “speaking in tongues” but the ability to understand each other’s languages, a phenomenon experienced on Pentecost, which just so happens to be observed this month.  In this case, the language is musical, although some wordless vocals surface in the curtain folds.

As with prior releases, the timbre is primarily post-rock, with a global influence.  Right from the start, the drums and guitars are joined by hints of strings and a free tone, as if the performers are given compositions to play, but then elect to jam.  An early glockenspiel breakdown increases the dynamic contrast, after which the opener refuses to re-crescendo, instead rising gently through plucked strings.  In the second piece, the chime keeps time as if announcing rounds in a boxing match, the stereo separation determining the sides.  A few minutes in, the volume increases to a point at which the chime seems superfluous and disappears, making way for triumphant brass, riding an early wave of military snares.  But it has not gone far; in the breakdown, it announces itself again: a little instrument given great power.

Again the density recedes, only to attack at the start of the central piece.  “Huthormens klygg” is the punchiest, most accessible piece, the easy choice for a single should the collective choose to release one.  A theremin or similar instrument appears midway, again paving the way for brass and snare, a succinct distillation of Musala nan Elian’s sound.  But the fullest expression is found on the seven-minute finale, which shifts from tender to assertive and back, concluding with a glorious segment of wordless unison vocals and banjo.  The members are making beautiful music together, sharing their contentment.

More music and monikers are in the wings; in addition to the chapels mentioned above, La Chiesa dei Fiori is also open for worship, while three more chapels are under construction, scheduled to open in 2025.  Soon France will be dotted with post-rock chapels.  The notes reverberate through stained glass as the light streams in.  (Richard Allen)