Wild Gods: Glorious Abysmal Review – the most amazing music born of tweed and psychedelic trips | Country music

A the loud, distant sound, the metallic glimmer of an accordion drone and a woman singing a traditional Gaelic dirge for the dead: this opens Keening, the first song in the neighborhood’s most impressive summer collection. Wild Gods is the new project from Argyll’s Jamie Livingstone, a regular collaborator with Scottish electronic producer Barry Can’t Swim. This release is graced with the music of the Hebrides: folk songs sung by women as they beat and softened tweeds before changing the company’s machinery.

With ancient Gaelic recordings and songs based in traditional Celtic music being pulled back into the present moment, the eight tracks show a timeless, fascinating rapprochement between rock and folk-rock. After Keening, Carlene’s 10-minute Pin married Susannah Stark’s beautiful Gaelic voice to Bad Seeds’ guitars, folk melodies, and a bass line reminiscent of Godspeed You! Black Emperor at their most disgusting uncheery. Relax and Be Thankful, named after a Scottish reel and A83’s famous scene where couples are known to meet for sex, is deliberately designed as a love ballad, before moments of joyous dancing and explosions; a sparkling entrance follows. Ortha, named after Celtic magic, also reflects Livingstone’s inspiration: the transformation of ayahuasca.

The project is based on Livingstone’s work with Vox Liminis, a Glasgow-based arts organization that supports people with experience in criminal justice through creative projects. It adds depth to the music that already starts, while being a healing process. From the melodious Hilma of Klint, named after the mysterious and obscure Swedish artist, to the finale, Aye Right – which brings with it shrill passages of finger-picked guitar and church psalm samples that drift in and out like parts of a fever dream – this is a refreshing song, and a refreshing one.

It was released on July 24

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