This is the latest work by multi-instrumentalist and composer Ernesto Villareal. Assisted on the album by guests on violin, recorder, dumbek, didge and djembe, Ernesto also brings other antique instruments into play including cittern, charango, vihuela, cajon and laud. The album tells the fabulous tale of Ishtar 's (a goddess of the Babylonians and Assyrians) theft of fire from the mountain of the Gods and her fight with her sister for its ownership. Ernesto has toned down his metal heritage for this more acoustically defined and renaissance influenced album.
A deep sonorous acoustic guitar sequence opens the work with Ernesto's very palatable voice mixing with the high quality soprano of guest Elizabeth Courier. A mix of Spanish and English is used on the album, the latter predominating. The Andean charango (an old guitar form) is used very effectively in the lament of track two and the following song, Oceans which expands out beautifully through the addition of a sweetly tuned violin. Things start to hot up from an electrical instrument point of view with the arrival of Enki (Ishtar's father who just happens to be the lord of creation – bet she didn't lose many "my Dad can beat your Dad arguments at school) in track four where there are hints of Ayreon in the song's arrangement.
A recorder enters fitfully in a jig to illustrate what the Gods were all up to while Ishtar's up on the roof nicking the fire. A fine electric guitar solo elaborates the soaring duet between Ernesto and Elizabeth which describes the taking of the prize. A mystical sounding background to a scorching electric guitar heralds the arrival of big Sis Ereshkigal (Goddess of the dead) who has her own ideas about what to do with fire and promptly nicks it off her, just like she did with her last boyfriend no doubt. The event is described in the slow acoustic piece, "Enchantment".
"Wrath of Ishtar" features a flamenco style to the acoustic guitar playing which supports fiery electric guitar highlights. A steady rhythmic bass and electronic percussion found the guitar and violin duet on the short suite "Underworld" which is where our heroine now needs to go to track down her sibling Nemesis. Ishtar is killed in the conflict but is revived by her Dad (see, I told you) who sends his Elementals in to assist. These events are described tastefully by Ernesto with acoustic guitar accompaniment.
The "Final Battle" is a rondo approach using the charango with electric guitar to build the volume and contrast the theme. The climax leads into the "Triumph of Ishtar", a heady, celebratory mix of electric guitar, choral voices and rhythmic acoustic guitar with hand percussion. The lute-like cittern features prominently in the next few tracks as we return to a more subdued tempo. "Kindred Strings" is worth a special mention – a wonderful melody forms the central theme on another stringed antique – possibly the laud, while a contrasting melody powers over the top on electric guitar, a truly moving composition. "Lough Neagh", as the title might suggest, has a faintly gaelic taste. The final tracks' highlights include a gorgeously entwined violin, charango and piano piece in "Remembrenza" and the return of the exquisite cittern and recorder for the courtly title track which closes the album.
This is a very classy album with excellent production and clarity where Ernesto displays all his highly accomplished playing skills on a multiplicity of stringed instruments. One of the best of the year from the metal crossover category although you'd probably have to classify this as renaissance folk-rock overall. Fans of Arjen Lucassen's rock operas will love this and he himself ought to be eating his heart out because this knocks Ayreon's last few albums into a cocked hat.
Track Listing
1. Making of Ashtar
2. Lamento
3. Oceans
4. Enki
5. Hall of the Gods
6. Ereshkigal
7. Enchantment
8. Wrath of Ashtar
9. The Underworld
10. Death of the World
11. Elementale
12. Final battle
13. Triumph of Ashtar
14. Eidolon
15. Kindred Strings
16. Lough Neagh
17. Soledad
18. Remembranza
19. Rheliq
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