Linernotes for “Esplumoir” by Vera Dvale & Crippled Ships

This was the third album to be recorded in our ongoing series of elemental meditations, and the theme for this one is “Air”.

Looking back, it is pleasing to see how our music has evolved so organically over the years, from its purely electronic beginnings to the inclusion of field recordings on our latest effort [“Ether Blossoms”]. The evolutionary step that took place on this album, was the inclusion of guitar [an old Harmony Rocket, to be precise]. Another new development on this album was that we discussed various topics related to air beforehand; trying to fit the music to the concepts, rather than making the music first and then trying to find thematically fitting titles afterwards, as had been the case with the first two albums.

The recording was made during our long winter season here in the north. The air outside was crisp and snow kept on piling up, giving hardly any sight of the beautiful view of the frozen river in the valley down below Uglebo . These album sessions of ours (Esplumoir being no exception) have been switching places now and again, sometimes taking place on the archipelago of Lofoten, and sometimes on the inland where deep forests and higher mountains take the central stage; imagine the landscapes from Ursula Le Guin with a surrealistic pinch from Leonora Carrington in turn. We think that our surroundings seep into the music somehow.

The inspiration for the album was culled from various sources reaching back to antiquity and medieval times, as well as folkloric elements that are harder to pin down chronologically. I guess the overall scheme of the album deals with the concept of ornithomancy – of opening up for interspecies communion, paired with some Arthurian elements (or Merlinic, rather). All in all, we wished to evoke a dreamy, meditative space conducive to an inspired flow of thoughts and insights.

The album title itself is taken from the concluding chapter of Robert de Boron’s remarkable grail trilogy; although my personal preference, when it comes to the Merlin mythos, is firmly attached to Geoffrey of Monmouth, who’s enigmatic Vitæ Merlini is a frequently consulted volume in my home. There is something fascinating and oddly modern about this character, who has an endearing love for the natural world and the company of animals, which is very appealing and also representative of values that we wish to promote through our music. “Clean up the air and treat the animals fair!”, to quote Captain Beefheart.

The word Esplumoir itself was initially unique to de Boron’s manuscript, but there have been several interpretations of it since. And what – you might wonder – is our take on it? To us, the unresolvedness of the precise etymology and meaning of the word gives it both a potentiality and a mystique, but what it conjures up to our inner eyes, is a place of observation, receptiveness, and transformation; the 12th trump of the Major Arcana comes to mind, to be honest (although that is traditionally thought of more as a watery card).

There are, of course, more continuities and puzzles weaved into this thing, but it would be unfair if we were to reveal them all in the linernotes already, so for now we will leave you to listen and ponder on your own.

Until next time, yours truly …