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To date the band have recieved the following reviews:-
Seventh Harmonic - Promise of Sacrifice
By http://www.darkspiritinacandle.com
Diversity, passion, originality in darkness could be easily attributed to
Seventh Harmonic an english female band comin, gathering some performances
here and there reserved but still developing its sounds.Their second full
lenght album ' Promise of sacrifice ' is established into Dead Can Dance 's
spirit, but also into some gothic standards or Prikosnovenie's ones - can
think of Rajna's realms as for an example.
Caroline, Eilish, Kate - new member since 2001 as a dulcimer player and
vocalist - and Fionna distil a mysterious, strange overwhelming liquor into
their still.in some experimental musical laboratory. liquor made of various
ingredients :
* a sprinkle of neoclassical tunes
* a pinch of ethnic sounds
* from celtic to arabic or hinduist ones
* some drops of intimate acoustic guitars, strenghtened by Eilish's
melancholic violin
* some electronic loops flirting with trip-hop and ritualistic atmospheres,
remembering Hagalaz Runedance's pagan horizons. This sensual and emotional
liquor distilled into our veins a strange veil of serenity and anxiety in
the same time.maybe cos of the ingenious work made on the vocals : most of
the time ethereal, but also with gregorian chorus, frightening whispers and
tibetan prayers.
So is the world of these graceful servants of Euterpe : one made of
opposites, past troubled times opposed to modernity, sacred opposed to
profane, synthetic opposed to classic...always shrouded by a sensuality in
between, a communion of all senses, focusing on sweet obsessional dreams
Besides, this enjoyful creativity - as a tapestry thought by four souls -
has been enlightened by some precious artistic presences - Paul Nemeth from
Cries of Tammuz and some members from Daemonia Nymphe. Promise of Sacrifice
has to be listened - eyes closed in obscurity when maybe we can understand
the meaning of such a title, with an open heart to touch the sky and feel
the truthness of life made of chiaroscuros.
- by elysia
SEVENTH HARMONIC - THE ASCENT, First Light Records
By Mick Mercer - http://www.mickmercer.com
A lot more modern than their recent seriously ethereal 'Promise' album , this is a kind of all-purpose home Goth record. You'd surely never listen to it as a precursor for a wild night out, but at all other times it fills your room quite beautifully, and isn't so saccharine sweet as to be pungently perfumed and drowsy. If anything it is a little mental, bordering on the weird.
With a bullish, booming opening and a hint of grandeur it just slings the most obvious comparisons at you during 'Inside' where a dramatic pulsing opening seems all set for Eurobeat glory when it switches in an instant to an astonishingly accurate Julianne Regan impersonation, then morphs madly into very early Kate Bush. Heathcliff!Given that much quality can be found between those two artists anyway, and that Seventh Harmonic are nothing if not exquisitely detailed in their compositions, you either know right now if this emotional dovetailing and picturesque froth is going to be for you, or not. If you like your music slightly fey, frosted and romantic it's got to be seriously worth considering. It remains quite beautiful throughout, with more than enough subtle twists to keep you guessing, and more than enough garbled, mysterious vocal phrasings for you to develop a second career as a pyschic in unravelling whatever the Hell they're on about.
The title track is a perfect example of maudlin miasma, with music which hints of a time when men were men and all but the lowest born women were ladies, and bad manners were simply beastly. Parasols and promenades, performed in palladian style. In 'You Sleep' they have suitably sombre tones balanced with high, pretty twinges, for nothing is ever harrowing in their landscapes, everything is sweetly metered and matched. Vocals oscillate in their mysticism before the synth winds snatch them up and toss them away.
Musically they go for a little overt adventure sometimes, as in 'Paralysis' with woozy (backwards?) passages acting as underlay for delicately feverish vocals, and it's a compellingly smeared entity, as there's a luxurious nightmare/brainstorm element to some of this, like inspired abstract musing, followed by a well named 'The Dream' with a music box cacophony, a tricky beat and anti-climactic end. Nemeth sidles in for 'Transformation' and does his lustily enigmatc thing as the woman sighs, enchantingly, and probabaly passes out.
They're deep, warm and languid for 'Swansong', entrancing with more Bush outtakes in 'B.C.' (I prefer the more naturalistic vocal drama of 'Firedance'), exploring an arty expanse of noise during 'The Sea' and enjoying a final burst of pace with 'The Reflection', which carries its historical element high; modestly modern, but decently dry. Think female highwayman (sic) and you've got the feel. Think thoroughly interesting and you've grasped the appeal.
A band like this should have every chance of enjoying the status the Cocteaus once held in the 80's.
Seventh Harmonic - Promise of Sacrifice
By Wednesday Elektra, March 16th, 2003
Promise of Sacrifice is a very mystical and enchanting album, while it holds true to being a
masterpiece in disguise. Its moody atmospheres, lullaby styles and Celtic overtones make for
a wonderful listen. No matter what mood you're in, you can always sit back and enjoy the full
potential of this album. Its crisp, clear and clean musical ensemble of instruments mixed with
angelic vocals makes it beautiful. Its a CD you want to have in your collection so
you can pass it down your family heritage so everyone will have a chance to enjoy it!
There are no good words to describe how great this album is, you must get it and listen to it
yourself to understand its potency!
(from Space Junkies)
PROMISE OF SACRIFICE
This album is Seventh Harmonic's fifth release, but only their second full-length album...
and their first recordings with the present line-up. So, it's a debut of sorts, but it has all
the assurance of a band who know their music backwards and forwards, and have a real vision of
where they'd like to go with it. To call Seventh Harmonic 'ethereal' - the catch-all shorthand
description that's often applied to them - doesn't really do the band justice: their music pulls
in influences from classical, folk, electronics, and all around the world. And yet Seventh Harmonic
manage the neat trick of never sounding like anyone other than Seventh Harmonic.
We've heard two of the tracks here before: 'Chains' and 'Icarus' appeared previously on the
Wasp Factory compilation, 'Working With Children And Animals Volume Two'. Here, however, 'Chains'
in particular sounds like it has a broader sweep, a greater depth of sound; the rolling bhangra
rhythms sit surprisingly comfortably with the swooping western-classical - not Bollywood! - strings.
'Icarus' is an exhilarating percussive tumble, over which Kate Arnold's voice tip-toes with delicate
precision, and again it sounds as if the song has had a bit of a make-over. I can't make up my mind
whether these tracks sound better here simply because they're in context, as it were, or whether the
production has been tweaked a little. Either way, these two songs are probably your best way in to
Seventh Harmonic, if you're coming upon the band for the first time.
Elsewhere, 'Page Of Wands' has a baffling title, but it's a drift through an other-worldly symphony,
with occasional punctuations of almost military drumming. 'Pass Within' sounds like it was recorded
on a hot night in a Morocco souk, while 'Promise Of Sacrifice' itself features some splendid chiming
percussion, and swathes of keyboard like silk scarves draped, just so, over the tune.
'Immortal Selene' and 'To The Mother Of Gods' are settings of Homer's hymns - and all of a sudden
we're a long, long way from rock 'n' roll. On these pieces (it seems so bathetic to simply refer to
them as 'tracks') Seventh Harmonic are joined by members of the Greek period folk group, Daemonia
Nymphe, and there's a real sense that a door into another world has just slightly been opened.
But no sooner have we got our heads round Homer than the band introduce us to another guest celebrity
songwriter on 'Parisina' - for this is their setting of Lord Byron's epic poem of 1916. Somehow,
Seventh Harmonic can pull in all these influences from the classics and literature without once
coming across as pretentious or contrived. It seems uncannily natural: it's almost as if Homer is
an old drinking buddy of the band, who agreed to let them have a crack at a couple of his numbers
over a pint of Guinness one night. I think he'd be pleased with the results.
Seventh Harmonic will take you aback with their ideas, their tangents, their myriad influences:
it's as if there's nowhere the band won't go, no music they won't absorb and transform into their
own uniquely cool brew. This is probably the most fully-realised of all their recordings to date,
the album upon which the band's tumbling ideas fall neatly into place, the first real destination
on their musical journey. Listen and take the trip.
~reviewed by Uncle Nemesis for www.starvox.net
A Promise of Sacrifice
A Promise of Sacrifice the second full length CD from UK all female neo-classical outfit
Seventh Harmonic is out now. The band comprise Caroline Jago (bass guitar and programming),
Eilish McCracken violin, and Kate Arnold vocals and dulcimer. A Promise of Sacrifice is the
first CD with Kate as lead vocalist.
The CD follows the high romantic sensibility of their earlier work. The bulk of their music
is a finely developed fusion of atmospheric ethereal pop with a classical inspiration, reminiscent
of the 4AD label during their heyday. Kate Arnold's vocals are slightly folk inspired and are
particularly successful on 'De Terra Exoritur', 'Butterfly Kiss' and live favourites 'Inside the Circle'
and 'Chains'. Yet Seventh Harmonic are developing new themes quite successfully. Two tracks feature
collaboration with Spyros Gisafakis and Evi Stergiou from Athens based group Daemonia Nymphe, who are
trying to recreate the sound of Greek Antiquity. The two pieces in question; 'Immortal Selene' and
'To the Mother of Gods' use lyrics taken from Homer. Original vocalist Fionna returns on 'Parisina',
based on a Byron poem, to stunning effect. Paul Nemmeth, from Cries of Tammuz takes a chant-like lead
vocal built round an intricate Eastern rhythm for 'Pass Within' which also works extremely well.
Overall A Promise of Sacrifice is a successful and inspiring release. The group's creative
sophistication remains intact, both in producing melodic gothic pop and in pursuing less obvious paths.
(from www.compulsiononline.com)
A Promise of Sacrifice
The 2nd album of SH shows an interesting progression into wafting gothic atmospheres leaded through
heavenly female voices. This female ensemble intermixes a gothic sensibility with dreamy neo-classical
arrangements and background folk inspiration. Their work sounds like a voyage through distant cultures
and esoteric territories. I think it's not a coincidence to find back among the guest artists, the
Greek Daemonia Nymphe. It only reinforces the sensation of their gothic-world music. This trio creates
an interesting feeling of mysticism that they build up through the eastern influences of their music
and through the lyrical themes as well. The ballads have been composed with patience and conviction,
delivering a meaningful and emotional content. 'Promise of Sacrifice' is strong enough to please the
lovers of this particular genre, filling the gap between traditional gothic stuff and neo-classical
compositions.
(from 'Side Line')
'Promise Of Sacrifice' 5 stars
The ethereal collective are back with their second full-length release. This time, Kate, Eilish
and Caroline have been working with Paul from Cries of Tammuz, Greek band Daemiona Nymphe and
their former vocalist Fionna. The band have certainly progressed from their debut release, The
Awakening EP and their sound has matured greatly. The effect is that they now sound far more
polished and tighter.
The references to Dead Can Dance still stand with the tribal drumming, symphonic violins and
delicate vocals but Seventh Harmonic now add their own British stamp to these beautiful tracks.
Daemonia Nymphe adds a very neo classical element to the band's style, their deep-voiced chanting
contrasting well with the lighter music, while Fionna adds a haunting quality with her voice on
Parisina.
A brilliantly evocative album for those in search of aural enlightment.
(from 'Meltdown')
A Promise of Sacrifice
Halfway between Dead Can Dance and The Machine in the Garden stands the milestone of the band
Seventh Harmonic. Two expressions that they can't hide from are neo-classical and ethereal
and these really are equally characteristic - greyish, dew-scented and stretchy, like a
pleasantly enervated Sunday morning.
The female trio (Caroline Jago - keyboards/programming, bass, guitar, Éilish McCracken -
violin, Kate Arnold - vocals, dulcimer) paints a real convincing picture of the UK ethereal
scene thought to be real dead and floating - but I have to add that I find the real strength
of the album in the more moving and dark tracks - like Icarus with its tumbling percussions
(which is a real contestant of Dead Can Dance's Cantara) or To the Mother of Gods and its
caressing madness, reminding me of the best moments of Les Joyaux de la Princess and Blood
Axis, together. The string/synthpad layers and the vocals are pretty much exaggerated over
other elements of the music, but here that's definitely not disturbing, rather the opposite.
One surprising point of the music is that you can't get calm on this one like on any other
ethereal disc, you've gotta listen to this real close and carefully. Sometimes an advantage,
sometimes not. The album Promise of Sacrifice features previous vocalist Fionna, Paul from
Cries of Tammuz and the antiquity-ridden Daemonia Nymphe. The result: an amber-scented disc
of 14 tracks which is anytime-anywhere between neofolk and late night chillout goth. Really
worth listening to.
(from LD50)
A Promise of Sacrifice
Diversity, passion, originality in darkness could be easily attributed to Seventh Harmonic,
an English female band. Their second full length album ‘ Promise of Sacrifice' is established
into Dead Can Dance's spirit, but also into some gothic standards or Prikosnovenie’s ones -
one can think of Rajna’s realms, for example.
Caroline, Eilish, Kate – new member since 2001 as a dulcimer player and vocalist – and Fionna
distil a mysterious, strange overwhelming liquor into their still…in some experimental musical
laboratory….liquor made of various ingredients : a sprinkle of neoclassical tunes , a pinch of
ethnic sounds * from celtic to arabic or hinduist ones * some drops of intimate acoustic guitars,
strenghtened by Eilish’s melancholic violin , some electronic loops flirting with trip-hop and
ritualistic atmospheres, remembering Hagalaz Runedance’s pagan horizons.
This sensual and emotional liquor distilled into our veins a strange veil of serenity and anxiety
in the same time…maybe cos of the ingenious work made on the vocals : most of the time ethereal,
but also with gregorian chorus, frightening whispers and tibetan prayers.
So is the world of these graceful servants of Euterpe : one made of opposites, past troubled
times opposed to modernity, sacred opposed to profane, synthetic opposed to classic...always
shrouded by a sensuality in between, a communion of all senses, focusing on sweet obsessional
dreams
Besides, this enjoyful creativity – as a tapestry thought by four souls - has been enlightened
by some precious artistic presences – Paul Nemeth from Cries of Tammuz and some members from
Daemonia Nymphe.
Promise of Sacrifice has to be listened – eyes closed in obscurity when maybe we can understand
the meaning of such a title, with an open heart to touch the sky and feel the truthness of life
made of chiaroscuros...
(from www.darkspirit.fr.st)
A Promise of Sacrifice Four stars
With songs inspired by Homer and Byron, lyrics in English, Arabic or Latin, and instruments as
varied as dulcimer and table harp, one cannot fault South London-based Seventh Harmonic for their
ambition, writes Stuart Moses.
Indeed Promise of Sacrifice is unlike anything else you are likely to hear this year. But with
so many good ideas in each song the casual listener might lose patience before the symphonic
masterpieces show their true grandeur. When the band simplify things – for example on Butterfly
Kiss, where guitar, violin and a forlorn female voice mix perfectly – the music is much more accessible.
This album takes influences from ancient times, but filters them through a contemporary sensibility.
It is a rich tapestry into which many eras, places and stories are woven. Immortal Selene and To The
Mother of Gods – collaborations with Greek-band Daemonia Nymphe – require no knowledge of the source
material to be understood. Nor does the listener need to know about poet Byron to appreciate the
fragile beauty of Parisina. Male and female voices blend, as do instruments contemporary and ancient.
Some music works as background, Promise of Sacrifice does not. Time must be put aside for it and
attention must be paid. Riches beyond your imagination are the rewards for those bold enough to
dig beneath the surface.
(from 'The Guardian')
A promise of Sacrifice
The wise guys between us know that this is their second full CD in a time lapse of 2 years.
Our 3 fairy ladies delivered once again a good job. The goddess voice of Amandine Ferrari
has been replaced by the even better voice of Kate Arnold (those who saw them live on the
Eurorock 2002 contest already knew that). Once again you’ll notice a twinkle into the
following names Dead Can Dance, Liz Fraser, The Corrs in combination with the very attractive
esotherique/atmospherique and symphonique music. I also noticed the fine idea of using 7
different (harmonic) musicians. I won't forget to mention the beautiful contribution of
Paul Nemeth (what a voice, like Dead Can Dance), Spyros Giasafakis and Evi Stergiou (Daemonia
Nymphe), Fionna (gives a Anne Clark touch to ‘Parisina’) and Caroline Jago. My personal
favourites are ‘De Terra Fons Exoritur’ (a fine combination: Kate and Paul), ‘Chains’
(very Dead Can Dance), ‘Pass Within’, ‘Promise of Sacrifice’, ‘Immortal Selene’(almost
close to neofolk), ‘To the Mother of Gods’ and ‘Parisina’ (the text was writen by George
Gordon Byron). The new voice of Seventh Harmonic still has a possibility to grow, so
let’s keep an eye on them!
(from lefantastique.net)
A Promise of Sacrifice
Promise Of Sacrifice is Seventh Harmonic’s second full length album.
They are are a female three-piece band formed in Autumn 1999, creating symphonic, atmospheric
dreamscapes. You can hear influences from Celtic through Eastern, from Dead Can Dance through
The Cranes. Heavenly voices are accompanied by violin, piano, percussion and other instruments
to create romantic wave. Some songs are really calm, others have a faster drum, but they all
are relaxing and yet also a bit chaotic.
They sing in different languages and a lot of guest vocalists appear on this disc.
While mixing different musical ideas they provide a lot of variety trough the fourteen
tracks of which the last one can be seen as an outro.
(from 'Darker Than The Bat')
**New Album Review**
Promise of Sacrifice (First Light) genre:ethereal 5 stars *****
The ethereal collective are back with their second full-length release. This time, Kate, Eilish and
Caroline have been working with Paul from Cries of Tammuz, Greek band Daemiona Nymphe and their former
vocalist Fionna. The band have certainly progressed from their debut release, The Awakening EP and
their sound has matured greatly. The effect is that they now sound far more polished and tighter.
The references to Dead Can Dance still stand with the tribal drumming, symphonic violins and delicate
vocals but Seventh Harmonic now add their own British stamp to these beautiful tracks. Daemonia Nymphe
adds a very neo classical element to the band's style, their deep-voiced chanting contrasting well
with the lighter music, while Fionna adds a haunting quality with her voice on Parisina.
A brilliantly evocative album for those in search of aural enlightment.
ADUMBRATIONS II/SEVENTH HARMONIC & DAEMONIA NYMPHE
Daemonia Nymphe and Seventh Harmonic have released a joint venture titled Adumbrations II.
The first four tracks feature Caroline Jago with Spyros and Evi and are more of an experimental
nature, unlike the previous work ascribed to either band. Highlights include the mellow and
bittersweet 'Marie Celeste'. The rest of the CD features an assortment of rarer Seventh Harmonic
work, including a haunting version of the Swans' I Remember Who You Are' , in which Fionna, the
first Seventh Harmonic vocalist takes the lead vocals. Two Tracks from 'Promise of Sacrifice' ,
'Icarus' and 'Inside the Cricle' are remixed.The CD is limited edition and ordering details are
available from the main Seventh Harmonic www site.
(from 'Cursor Mundi' - http://www.zyworld.com/Oriflammejournal)
'The Ascent'
From England comes a trio of atmospheric shapeshifters that believe in making music a personal,
soulful experience, ensnaring the baser elements of new age, blue moods and uplifting symphonic pieces.
Their first album 'The Awakening' sold 500 copies in the first 3 months - when you give it a listen,
you'll understand why. Apart from the credible and angelic soundscapes they craft out of voices, synth,
guest stars and drums, part of the reason for their success stems from the individuality of the sound.
Like Enya, Dead Can Dance and the Cocteau Twins on a higher spiritual plane. Consider their 53 minutes
elevating your ears closer to heaven, a heaven that is pure and proper but that seldom tells you what's
going on. It's enough that you are part of the experience.
These 13 tracks often bring in a voice, but these aren't pop songs. Their lengths might be roughly the
same, but like playing Myst, you must listen to the wind and all other sounds as you get closer or
father away from what you expect to be the next, great clue.
When I hear 'The Dream' that blends new age and ambient melodies in a filtered cloud of keyboard,
then simple rhythm machine beat, I am asking myself, what the hell's going on? But the mind doesn't
want to pull away, even if the ?-noised hallway that approaches is filled with the kind of cult that
is as dangerous as it is inviting. But through it all, especially after the fact, it's obvious there
is no danger. Only understanding - if only your id is the beneficiary.
This is a cd for the electronica and ambient crowds, to be listened to at home with the volume low,
edged up slightly as the puzzle falls in place.
(from www.musicdish.com)
The Ascent
Beautiful cover and ditto artwork are the first things when I touch this masterpiece. During the
European preselections of Euro-rock these 3 girls from London didn't pass unseen: their
English/Irish heavenly-voice music with a eye on Dead Can Dance, atmospheric Celtic dreamscapes
(take a closer look whilst listening to the sitar, violins, horns in the intro, the chants in the
beautiful voice) and the Corrs. Miss Ferrari sings in French and in English. The sound is very
experimental, that's an advantage. By the end of the CD they get some help from male vocals
(again very close to Dead Can Dance). The most catchy songs are 'Inside', 'Transformation' and
'Reflection'. They are young and have a bright future: they can only become better (you feel
they are gifted with a lot of talent and they are only since 1999 together). Maybe they wont
have to play the preselections next year!
(from lefantastique.net)
Live reviews
Somewhere around this point it became painfully clear that the gig was never
going to make up the lost time - which meant that the advertised
headliners, goth-ethereal trio Seventh Harmonic, were forced to take the
stage early, apparently because they'd be unable to get home afterwards if
they played last! Not the ideal start to an album launch, but once the set
itself was underway, all of this was swiftly forgotten. The show saw the
debut live performance of the album's title track, Promise of Sacrifice,
with Caroline exchanging her guitar for some percussion, and also had two
very familiar guests joining the band on stage - with semi-regular guest
vocalist Paul Nemeth contributed male vocals to one track, and the band's
original vocalist Fiona returning for a single song. A few minor sound
problems plagued the set, but seemed more visible to the band than the
audience, and on the whole it felt like something a little bit special, and
a rather good way to launch an album.
(from 'Meltdown')
Seventh Harmonic, first band of the evening, are an all-female trio -
guitarist, vocalist (who also plays a hammered dulcimer) and violinist.
Their music's ethereal in style, with a slight touch of folk and influences
that seem to range all the way from Ireland to the Middle East. They manage
to bring a fair bit of stage presence to their live shows, mixing
atmosphere and intensity with the occasional bit of friendly banter from
vocalist Kate. Tonight, though, they get off to a slightly awkward start
as sound problems bring a lack of clarity to the vocals. This does get
resolved, though, and within a couple of songs they're back on form with a
strong batch of songs from the new album (which, Kate explains, hasn't
quite arrived in time for the show.), including Oceanus, Chains and De
Terra Fons Exoritur. Paul Nemeth joins them onstage to provide male vocals
for one song - which makes for a nice variation on their normal style - and
then, it seems, time is up. A good start to the evening, but a real shame
about the sound problems.
(from 'Meltdown')
(Birmingham gig review from 'Starvox.net'
- by Uncle Nemesis.)
Seventh Harmonic emerge from the kitchen and make their way to the stage, and the audience clusters
around. Now, Seventh Harmonic are a rare thing: a genuine, home-grown, UK-based neo-classical, ethereal
band. For years, the general consensus on the UK scene was that 'ethereal bollocks' just wouldn't work.
The UK just wouldn't wear it - we all wanted to mosh. With a magnificent disregard of the UK goth-scene
consensus, Seventh Harmonic simply went ahead and did their ethereal thing. And, to everyone's surprise
(including, I suspect, the band themselves) they've notched up quite a fair bit of success. Perhaps this
is because the band have such a distinct character - it's ethereal, but it's ethereal with attitude. If
it's possible for a neo-classical band to rock, Seventh Harmonic do just that.
Kate, stage centre with her dulcimer (which she introduces to us as 'the amazing device') is the
focal point of the show. Her vocals have that essential ethereal-goth purity, but there's a
certain power there, too. Her dulcimer playing - which fascinates everyone at the front -
is precise and yet apparently effortless. Over on stage right, Eilish, Seventh Harmonic's
violinist, creates a sound that's stronger and beefier than you'd expect - a full, rolling
sound which fills out the music. The violin is such an integral part of the band's sound
that the music is noticably more sparse when it drops out. And on the other side, Caroline
provides a rock 'n' roll reference point with bass and guitar. There's a backing track
somewhere in the mix, fleshing things out and providing the rhythm, and occasionally I
catch myself wondering what Seventh Harmonic would be like with a *real* percussionist.
The music is rhythmically quite complex, so whether one human being could handle everything
is a little doubtful. But after seeing This Ascension in Montreal recently, with their
excellent percussionist in full effect, I'm quite taken with the idea. Most of the songs
in the set tonight derive from the band's last album, 'The Ascent', which was recorded
with a different line-up. Occasionally, that's apparent in the live versions: you can tell
that Kate is trying to wrap her voice around vocal lines that were created by another singer.
But there's new stuff, too, which gels impressively, and hints at good things to come when
the band get around to recording their next album. The set finishes with a dulcimer solo,
and it's fascinating to turn and watch the audience standing there in rapt attention as
the notes tumble from the PA.
Photos courtesy of Uncle Nemesis/Starvox.net.
(review of 'Working with Children & Animals' from
'Starvox.net' - by Uncle Nemesis.)
'Seventh Harmonic swing things around to yet another direction. This band is usually
referred to by such terms as 'neo-classical' or 'ethereal', but these two tracks show
how absurdly limited those catch-all descriptions are. 'Icarus' is a heady rush of
percussion, rolling and tumbling. The dulcimer's somewhere in there too, almost a
rhythm instrument itself, nailing it all down to a steady tempo. The vocal melody
takes off and flies above all this: the contrast between the richness of the percussive
sound and the purity of the vocal works very well. It's almost as if Phil Spector had
decided to try his hand at producing a Cathedral of sound. It all ends with some
psychedelic reverse-noise, for all the heads to groove on down to. It's as if there
are about twelve different musical ideas fighting it out in this one song - and
that's impressive when you think how many bands couldn't muster twelve musical ideas
in an entire career. 'Chains' swaggers in with almost a Bollywood beat (I'm sure I
hear tablas in there somewhere) and a striding piano figure which pushes everything
forward. The vocal is more folky here - again, we hear Seventh Harmonic's ability to
mix up different musical ideas and somehow get it to all hang together. Their album
- due later this year - is going to be worth the wait...Seventh Harmonic and Spray
provide, for my money, the best stuff here.'
(review of 'The Ascent' from 'Starvox.net' - by Jezebel.)
Compared with Dead Can Dance, Cocteau Twins, Fading Colors and I will add in
Changelings and Black Tape for a Blue Girl, the magical and musical medieval
melodies of Seventh Harmonic cannot be beat.
First, I will get the details away. They are the goth version of Destinys child
with more line-up changes than a band can usually bear. This album has the
second incarnation with Amandine as the helm of the vocals. Whereas their former
singer, Fionna, was lovely and had the soft voice usually required for this type
of music, Amandine brings something different. Perhaps it is her background singing
for metal and punk bands, but there is a new dimension.
Still concentrating on the vocals, Amandines voice has been compared to Kate Bush
and it is nowhere more apparent to me than in Paralysis. It also smacks of Tori Amos
to me, although in a subtle way which cannot be defined in any one song.
But away from the vocals. This is ethereal, magic influenced, medieval music at its
best. The dulcimer brings you flying through the waves of the melody. The gorgeous
violins are just daintily placed through out.fairies all over the place. Guitars,
bass they are used with the softest and simplest and most beautiful of ways, creating
waves thats it. Waves of angelic sounds.
This is, as so many other reviewers have said, music for incense, a glass of wine
and for me, I will add a bubble bath and some candles. This is an experience cd,
not something you plunk on and wander about, you listen you let your mind wander
and ride the waves oh feeling so oceanic about this cd but that descriptor in itself
tells a lot this takes you to places, deep within the beauty of the sea, the
denseness of the forest, the openness of the sky.
Amandine has since left the group, and has been replaced by the dulcimer player.
I cannot wait to hear what they now will give us. Carolines strong song writing
ability can probably be the perfect ground for any singer with the talent to breathe
into the lyric, letting it give the voice, instead of vice versa.
What is remarkably refreshing about Seventh Harmonic is that they are not just
another ethereal band who is like other bands but have (and which is so
important to me), evolved their sound. You can hear the normal influences, but
more importantly, you can also hear the influences of classical training and of
musicians who have never kept themselves isolated with one genre of music.
I cannot wait for their next offering and after one listen you wont be able to either.
(review of 'The Ascent' from 'Darklife')
Seventh Harmonic are a neo-classical all female group,
featuring Eilish on violin and Caroline Jago on programming and bass guitar.
They are now on to their third vocalist, Kate Arnold who originally joined
to play dulcimer but seems to have settled well in to the role of singer.
Seventh Harmonic are influenced by Dead Can Dance, Kate Bush (more
specifically her sound from the much neglected 'Sensual World' album) and
Enya to a lesser extent. They usually get referred to as being 'ethereal',
'dreamy', 'romantic'. OK fair descriptors, but the point seems to be missed.
However other worldly Seventh Harmonic appear to be, they posses a precision
and structure to their work which impresses. It might be due to Eilish
McCracken's classical training, it might be a result of Caroline Jago's
skill as a song writer and producer. The band never seem to sway in to the
realm of indulgence, nothing is wasted on CD or in their live sets, no room
for any meandering. 'The Ascent' was recorded with Amandine on vocals who
has now left the group. There are 14 quality tracks, all of them possessing
distinction. Highlights include Inside and Requiem are exquisite love songs,
Transformation is almost operatic, with the lyrics and part of the vocals
sung by Paul Nemeth. The Reflection ends the CD with a certain visionary
confidence. Marvellous.
(review of 'The Ascent', from 'Whispering Gloom' magazine)
Here we have a wonderful creation named Seventh Harmonic. This is the debut
full length album, after the well acclaimed MCD 'The Awakening', which sold
over 500 copies within 3 months of release.
Amandine's voice adds impact and dynamics to the beauty contained within the
beautiful music. What we have here is such brilliant musicianship,
enlightening compositions, and enchanting harmonies, all created to capture
your attention and take you away from this world. Amandine's vocals are of a
beautiful, delicate nature, sometimes angelic, sometimes sorrowful, always
dynamic - she reminds me of All About Eve. The musicianship is what stands
out, and sounds a mixture of Mortiis, and dark ambient vibes, which adds so
much depth and melancholy, ethereal atmospherics, dripping with such
passion, mixing the grotesque with the glamorous - WONDERFUL!!!!!!
This isn't the sort of release to put in your player, and go about your
daily chores. The only way to appreciate this little gem is to play during
hours of darkness, turn out the lights, light your candles, light incense,
place the CD into your deck, sit down and relax and totally absorb the
moving creativity within. This is an ESSENTIAL release, and I feel proud to
review this piece of art. Anyone who appreciates acts such as All About Eve,
Mortiis, Dust Of Basement, Ghosting, Kate Bush will lap this up.
TOTALLY MAGNIFICENT!
(review of 'The Ascent', from 'GreenGauge' magazine)
Seventh Harmonic have recently released their second album 'The Ascent'
following up 'The Awakening', and it was released commercially in September
this year. The lyrical content is very good and haunting harmonies produce a
mystic feel throughout - the melodies set up by the violin add to the
ambience and compliment all aspects of the music. Many parts to the CD
remain instrumental (the introduction, 'The Ascent') and this helps create a
full, yet unusual impression to the music. Other musical devices add much
depth to the songs - on 'The Sun, The Sea', for example, spoken word adds a
mysterious glow to the backing track, accenting what's being played already.
The guest voice of Paul Nemeth on 'Transformation' completes the harmonic
sound with both himself and Amandine Ferrari complimenting each other. My
favourite song has to be 'Inside', with such a soft, unearthly violin part
that supplements Amandine's eerie vocal harmonies. After listening to the CD
for many days (not only to be able to write this article) I have come to the
conclusion that overall the presentation, sound quality, composition and
performance are of an exceptionally high standard. If anyone is unfamiliar
with the work of this band, then I strongly suggest that you become familiar
with it.
Uncle Nem from Starvox.net
Seventh Harmonic: The Ascent
For many years, conventional wisdom had it that ethereal bands just couldn't cut it in the UK.
We were all far too punk rock for any of that stuff. But things are different now, and I think
that's due to a large extent to the efforts of this all-female outfit, who threw conventional
wisdom to the four winds and just got out there and *did* it...and discovered, slightly to
everyone's surprise, that there *is* a UK audience for lush, swooping, ethereal-isms. It
hasn't been an easy ride - the band have suffered more than their fair share of personnel
upheavals, and in fact the line-up that made this album has now changed. But even so, as
a document of the activities of one of our most intriguing bands in 2001, this is worth grabbing.
The music is multi-layered, virtual-orchestral, but always packs a punch. I think the best is yet
to come from Seventh Harmonic (2002 should see the first release from the current line-up) but
this makes a tasty hors d'oeuvre.
(from 'Shadowland')
SEVENTH HARMONIC: Ascent (CD) 169,50
This is the first full-length album from Seventh Harmonic, following on from their much-acclaimed
debut-MCD Awakening. Seventh Harmonic are an all female gothic/ethereal band from London with an
incredibly big talent. This Heavenly Voices band produces a very beautiful sound - gentle female
vocals mixed with the warm and romantic sound of strings and guitars, producing a very mature and
polished gothic/heavenly/ethereal album that will appeal to lovers of bands such as Ordo Equitum
Solis, Chandeen, Gothica or Ataraxia.
(from Side-Line)
Seventh Harmonic is a female trio that just released their debut full length
on the brand new First Light Rec. They compose an enlightening mix of gothic,
folk and neo-classical. You feel like entering a relaxing universe with angelic
voices coming down to tingle your ears… the sensation of a last summer
breeze. The vocal parts, which are constantly moving from English to French
language, create a harmony between sadness and sensuality. An enigmatic duality
that runs through the whole "Ascent". The more you get familiar with
the sound of those angels, the more you feel like visiting an ambient experience.
That’s probably the reason why Seventh Harmonic has been already compared
to Dead Can Dance, Mortiis, Cocteau Twins ao… In comparison with Dead Can
Dance I would say that they dig deeper into Celtic influences. This is music
to dream away.First Lights Records, 17 Collins Court, Forest Rd, London, UK
E8 3BS. (DP:6/7)DP.
LIVE REVIEW - (Uncle Nemesis, UPG, 21-11-01, Dublin Castle, London)
And now, the
headliners. Seventh Harmonic have suffered from the Incredible Vanishing
Vocalist syndrome of late: Amandine, their previous singer, was last heard
of somewhere in France, and apparently she's not coming back. So the band's
dulcimer player, Kate, has stepped up to the front (bringing her dulcimer
with her) and is now the band's vocalist. And she does it extremely well.
She can do all that soaring and swooping stuff, and she can actually
enunciates the words on the, er, 'quiet bits' (I'm not doing too well with
the technical terms, am I?) very clearly. It'an English as a first language
thing, I suppose. She brings a rather more reserved, dare I say,
respectable, visual element to the band, but this works very well, and
everyone listens attentively to her between-song announcements. In this she
is streets ahead of Amandine who never really got beyond 'Is everyone all
right?!' As ever with Seventh Harmonic, I find myself listening to the drum
track, which sounds very authentic (is it made up of samples of real
drums?) - the band have actually got a very strong rhythmic element which I
think is often overlooked. People always think, 'Seventh Harmonic - ethereal
band'. Nobody ever thinks, 'Seventh Harmonic - kickin' rhythmic element!' -
but it's there.
LIVE REVIEW - (Channel 4 Teletext, 21/11/01, Dublin Castle, London)
They're not your
average group. Eilish plays violin, Caroline plays bass, while Kate sings
and plays hammered dulcimer. The sound is accessible melodic tunes, with a
classical and often melancholy edge. One imagines them playing cathedrals,
not seedy Camden venues. Kate has a wholesomeness and voice of an angel.
There's no-one in the UK doing quite what they are - symphonic masterpieces
that are perfect panaceas for these troubled times.
(from 'Meltdown')
This is the debut album from all girl band (with token male vocalist Paul).
Those expecting something similar to 'The Awakening' will be very surprised,
if not impressed as this is very different. Amandine's high pitched, almost
poppy vocals add a totally different feel to Fionna's delicate floaty voice,
which starts to move the band away from the Clannad-style songs on their debut
EP. Instead 'The Ascent' is a mixture of instrumentals that Dead Can Dance would
be proud of and a lighter blend of, dare I say it, darkwave pop. I think it'll
shock a few people but in my mind, it's no bad thing as it will bring Seventh
Harmonic to a new and wider audience.
Stuart Moses, The Guardian.
'It may seem a little early to be nominating albums of the year, but Seventh
Harmonic's full-length debut has to be a strong candidate for that title. One
of the most exciting new bands in the country, "The Ascent"
sees the group mixing modern sounds with traditional medieval instruments to
create a timeless blend of magical worlds.
Seventh Harmonic are quite unlike anyone else around at the moment. In a live
setting singer Amandine stalks the stage, PVC-clad and booted-up, in a way that
is both frightening and attractive. Caroline plays bass trying to look mean
and moody, yet at the same time full of joy at the whirlwind of emotions her
band conjure from the stage. Eilish plays violin, wearing a demure dress or
tartan bondage trousers, depending on her mood.
Whether it's the electronic sounds of "Inside" which showcases Amandine's
simultaneously fragile yet forceful vocals, or the dulcimer-led title track,
here is a band that can mix so many emotions but never lose the plot. At the
climax of "Requiem" monks start chanting, and really it shouldn't
work, but it does. This CD has much more depth than your average New Age music,
especially "Transformation" which is drenched in pagan imagery, with
a fantastic vocal performance from Amandine and guest vocalist Paul Nemeth.
It's time to a step out of everyday life and enter a world of mystery and magic,
of times past and futures yet to come.'
Posted to Usenet group U.P.G. by Uncle Nemesis.
Seventh Harmonic are, however, entirely ready for public consumption.One of
the few bands (maybe the only one?) in the UK doing that mysterious ethereal
thing, they also have gone through a few changes in their relatively brief existence.
The original version of the bandwas *very* ethereal: so ethereal it seemed at
times like a gentle breeze would blow their music away. It certainly seemed
like a gentle breeze would blow Fionna, their original vocalist, away. However,
the band now appear before us in revised form with a new vocalist,Amandine,
who's all straps and buckles and piercings and big boots.Never mind a gentle
breeze, she looks like she could divert the course of a tornado just by glaring
at it. She immediately gives Seventh Harmonic a visual focal point, and, more
importantly, she can *sing*.She can do all that whisper-to-a-scream stuff, all
under perfect control and without any apparent effort. Someone in the crowd
behind me mutters 'Kate Bush' which is probably a comparison Amandine's heard
too often, but nevertheless, that gives you the flavour. Musically, Seventh
Harmonic are actually quite complex: there's more going on than you at first
realise, but then your ears start to filter all the intertwined layers, and
the depth of it all becomes apparent. The foundation is Caroline's basslines
(nice silver bass, BTW, looks like something from an old Buck Rogers film) and
some pre-programmed drums that sound like someone who *really* understands rhythm
has put it all together: none of yer will-this-do boom-chicka-boom preset drum
machine beats here. Garnish with Eilish's very precisely placed electric (or
electronic?) violin parts, simmer at pub-temperature, and you have a musical
feast. Ethereal, but with bite. They float, but they also sting. They are visually
arresting but the music is rewarding to just *listen* to. Excellent stuff from
a unique band who will probably become big stars about five minutes after the
Americans discover them. Remember who told you they were good *first*!
(review of 'The Awakening' from 'Eoipso.net')
Seventh Harmonic are a female threesome from London with a preference for
dreamy, ethereal and otherworldly soundscapes. "The Awakening"
is their second CD and shows the band have a talent for writing memorable
songs for the quiet moments in life.
The six songs on "The Awakening" come slow and fragile, hence show
there must be some thoughtful characters behind the music. Seventh Harmonic
obviously chose this way of expressing themselves, because it reflects the
way they see the world.
Caroline Jago is responsible for most of the compositions, she has been with
a couple of bands in the past, notably bands with a strong gothic flavour,
like Cries of Tammuz and This Burning Effigy. Seventh Harmonic's music however
is of a different breed and sometimes reminds of the sort of bands legendary
label 4AD used to sign in the 1980ies.
Some say it sounds like Dead Can Dance (another 4AD reference), but that is a
little exaggerated too, for Seventh Harmonic lack the grandesse and of course
experience of the Australian ideal. On the other hand, the songs sound fresh
and pure, due to the straightforward and minimal production. Spacey and
orchestral synthesized sounds and programmed drum loops mix with vocalist
Fionna's characteristic voice and, sometimes, Eilish McCracken's violin.
"The Awakening" is certainly not a CD you would feel you had to rave
about, but, given the limited (financial) possibilities of an underground band,
it sounds promising. There is a follow-up available, which I have not heard
though, so I can only guess it's a step forward.
Review published in SL32 (07/00){sideline
magazine}:
SEVENTH HARMONIC The Awakening (CD Harmonic Recordings)
Seventh Harmonic is based in UK and its line-up consists of three members who
previously appeared in bands such as This Burning Effigy, Cries of Tammuz or
Obsession Of Lilith. The bands music lies - I should say “floats”
- somewhere between Love Spirals Downwards and Dead Can Dance. There are six
tracks on this record and they are all made up with beautiful soundscapes involving
keyboards and violin, the whole carrying the ethereal voice of the female vocalist.
In my opinion, this is quite good for a debut-record, lets hope it will be even
better the next time S. H., 17 Collins Court, Forest road, London E8 3BS, UK
(DS:5/6) DS.
From Pagan Dawn:
'Seventh Harmonic are a band to lose yourself in. It's music to dream to, to draw or paint to, to read to, or to walk through the
countryside on a cold winter's day listening to. It's music for when you want to heal and find a calm place away from the
rest of the world. Though you can't always make out the words, the emotions are always very clear. It's music that
grows every time you listen. The six songs contained here are timeless. Incense and candlelight are required props, though obviously
this can be a bit awkward if you're listening to your Walkman on the bus. If comparisons have to be made, then there are
elements of Dead Can Dance circa 'Spleen and ideal.' Fionna is a less esoteric singer than Lisa Gerrard, and the clues
here are much easier to follow. The rhythm for 'Each hour' is almost primeval and the words 'Lose all the blind
ties/Come from the dark and raise your eyes/for fear must fade before we rise' are simple, but beautiful. Piano, guitars and
keyboards are used to create a world. Eilish's violin is used on only three songs, due to time constraints when the album was
being recorded, but this can only act as an impetus to see Seventh Harmonic play live.'
From Kaleidoscope magazine:
'Wonderful stuff - an emotional, ethereal band based in England! Seventh Harmonic
produce the kind of music that combines a sense of timelessness with an eye
for the future! Think Dead Can Dance, think Fading Colours, think Auroa Sutara
- and you're getting close. All very gentle and dreamy - and very hard to describe.
'Angelic' vocals, drifting piano parts, fine instrumentation...I think it's
wonderful - which is why we decided to interview the band and get a track for
our CD - and if you like 'Angel Tears' you'll like the rest of the CD. So go
and buy it!'
(As sent to Judas Kiss).
'Seventh Harmonic`s debut 6 track CD is a wonderful,majestic,multi-layered offering
reminiscent of Projekt Records releases;fans of Dead Can Dance,Ordo Eqiutum
Solis and the Cocteau Twins in particular will love it. "The Awakening" is a
truly exceptional piece of work, saturated with memorable hooks and great melodies,overlain
with Fionnas soft langorous vocals.The whole release is shot through with light
and optimism and is wonderfully uplifting;complimented by a touching, beautiful
and poetic lyricism.This is an essential release.'
From the Nightbreed Recordings catalogue:
'Enchanting release very much in the US "Projekt" tradition. Neo classical back
washes and female vocals. Recommended to all "Heavenly Voices" fans.'
A review by Stuart Moses for the local Guardian series of newspaper's:
"The Awakening" - Seventh Harmonic (Harmonic Recordings)
'Seventh Harmonic are a new all-girl three piece, but as they play violin, keyboards,
and draw on influences ranging from the Celtic to Eastern traditions of music,
they are about as far away from the Spice Girls and B*Witched as it is possible
to get. Formed in Autumn 1999 they have already attracted interest from film
makers keen to use their music as soundtrack material. Quite what these films
would be like I find it difficult to imagine. The six songs contained here are
about feelings good and bad, about times past and times yet to come. Best listened
to by candlelight, perhaps the film makers have missed the point in that Seventh
Harmonic make soundtracks for the mind, or maybe the soul, rather than mere
celluloid. Swathes of keyboard and violin appear throughout the opening song
'Angel Tears' and I am overcome with a feeling of loss. I imagine Seventh Harmonic
songs taking place in vast forests or by the side of ancient seas, especially
on the piano-led 'Oceanus.' And while there are feelings of sadness, the music
simultaneously makes me think of hope and the changing of the seasons. If you
find Enya too tame, Enigma too bland, or the Medieval Baebes too, well, medieval
I suggest you try Seventh Harmonic. At heart this is winter music, for cold
evenings and empty mornings, but luckily with the English weather the way it
is, we can listen to Seventh Harmonic all year round.'
Posted to Usenet group U.P.G. after the gig 31st March by Widgy:
'...A promising start; must have been over 100 squashed into the
Devonshire Arms (considering how long it took me to get to the bar), and with
two DJ's and two bands the evening looked set. Seventh Harmonic looked stunning
on stage; their singer Fiona had the 'right' look for her voice - etherial,
tiny but well-proportioned and long blonde hair. Looked like a fetishistic Queen
Gwenivieve...... Plenty of potential, interesting bass complementing the backing
- in some senses really making the songs...... The singer stayed upright and
still during the set (not necessarily a bad thing), looked like she was commanding
hordes of knights to go off and joust in her honour....'
Taken from a write up of their debut gig in Brighton on March 4th by
Uncle Nemesis.
'...ethereal, dreamy, Projekt label type stuff: all multi-layered swathes of keyboards,
but with enough bass-driven rhythm to keep things moving...'
From Meltdown magazine:
'Seventh Harmonic represents a fine blend of good musicianship and song writing - a must for all ethereal lovers.'
From AudioGhoul:
... Influenced by the neo-folk tradition of Dead Can Dance and by the 'ethereal' ... acts
associated with the US label Projekt, they have more in common aesthetically with guitarless
atmospheric artists such as Mortiis and Endura.... The six tracks on their debut EP are songs
rather than soundscapes, constructed from elegantly orchestrated violin, guitar and synthesised
piano, but drip with an intense atmosphere of romantic wistfulness more usually found today in
the dark ambient and neo-classical genres. Immersed in this shimmering melange of sound is the
dreamy, achingly sweet voice of elfin vocalist Fionna. Carefully laid back in the mix to enhance
the texture of the music, rather than being pushed to the front, her vocals are subtly interwoven
with Eilish's poignant violin and Caroline's echoing orchestral programming and sonorous, sparse
guitar.
Like all good atmospheric work, 'The Awakening' rewards attentive listening with subtle beauties
that do not immediately reveal themselves to the casual ear, as the deeply structured interplay of
the instruments does not have the brash obviousness of conventional rock or pop music. Sounds rise
slowly from the mix, blurring together soothingly through the use of heavy echo. A different
instrument is constantly foregrounded to provide the guiding melody that holds the song together.
After several listens the album reveals a pleasing diversity in its alternation of guitar, 'piano'
and violin lead tracks, with Fionna subtly adjusting her vocal style accordingly.
The stand-out track first appears to be 'Tireansamraidh', a more up-tempo piece with Scots
Gaelic lyrics played and sung with great and joyful gusto. However the soaring violin-lead finale
of the final track, 'The Last Goodbye', tops it as the single highest peak of musical intensity on
the EP. The second track, 'Each Hour', opens with solemnly thunderous percussion that hints
intriguingly at a darker side to Seventh Harmonic's glamour.
'The Awakening' is a stunning debut, convincingly setting out the case for honest and whole-hearted
romanticism.... This tasteful gem will surprise and delight fans of acts as diverse as Dead Can Dance,
Mortiis or Enya with its fresh and captivating sound.
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