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review by Bill Binkelman Angelos is the third offering from the duo Agnus Dei. Tragically, one of the two members of the duo, Hilde Krampl, died of cancer after the release of their first two albums (Lemuria and Merlyn). Her husband, Gerald, somehow found the courage and strength to continue on with this album, which Hilde had already written poems for (included in the liner notes). Lovers of piano-oriented new age music will be glad he completed this work, because Angelos may be Gerald Krampl's best work so far. Piano, synth strings, and assorted "typical" new age keyboards (e.g. pan pipes, plucked strings) are the mainstays of the eleven tracks on Angelos. The songs are titled after the names of angels from the Bible. While the music has a consistent sound to it, owing to the sameness of the instrumentation, the mood varies from uplifting and joyous to somber and even sorrowful moments, although nothing here approaches what I would call true "darkness.'' Instead, scattered here and there are moments when a sensation of sadness or emotional pain can be sensed. The overriding sensation of the album is optimistic, though. It's worth noting that Krampl's musical style is atypical from other new age artists' who have recorded angel-themed releases. Lofty choirs and quasi-spacemusic floating chords and washes are absent. What replaces these elements is a blend of neo-classical piano and more mainstream new age music sounds and textures. How this sits with the listener will be determined by how open-minded said listener is to music that concentrates more on melodic refrains and song structure than, for example, Iasos' or Aeoliah's recordings do, (to name but two artists whom are known for their angelic albums). Angelos is more enjoyable to listen to directly than to play in the background, although it's good in that regard, too. Krampl inserts some interesting textures and instrumental touches in the mix's background and you'll miss a lot of this if you play it while, for example, working. When I listened to Angelos on headphones during a bus ride, I discovered a whole "new" recording; what I interpreted previously as an uninspired sameness (approaching monotony) proved to be a lot more varied and enjoyable. Favorite tracks for me include the opening "Michael" which is somewhat Renaissance-like in its rhythms and the stateliness of its melody, the darkly dramatic "Uriel" (helped by excellent use of synth strings and a Vangelis-like horn sound), the somber "Raphael" (featuring nicely echoed wooden-stick percussive effects in the background) and the uptempo "Metatron" with its lively melody and pan-pipe keyboards. The last track on the album, the only one not named for an angel, is titled simply "Grief (For Hilde)" and while it's certainly not cheery, it's not completely dour or downbeat either. Instead, it's reflective and carries a bittersweet air. It had to be difficult for Krampl to follow through with Angelos after losing his wife (and musical partner). I don't know if it's any consolation to him, but this recording is a fitting tribute to Hilde (to whom he dedicated it), filled with a sense of genuine warmth and sincerity, married to music that is emotive and well-performed. Obviously, if you are cynical or hold strong opinions against the existence of angels, you might have a problem with the recording's theme. Musically, this album will appeal to piano fans who enjoy also like new age music style keyboards. Don't expect any spacemusic or ethereal hymns and you won't be disappointed. |
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