Magnificent, epic, bombastic, opulent, cinematic……I could go on but you get the idea. Jo Quail’s latest offering is stunning and even though her previous releases were well received, this is a whole other level.
I’m sure most people are familiar with Jo Quail, but if not, she is a critically acclaimed, award winning composer and virtuoso cellist, who’s distinctive style looping melodies and rhythms, building layer upon layer to create complex pieces has won her fans from a variety of genres including the usually fickle metal audience. Alongside the studio work, her work ethic and busy touring schedule have allowed the music to reach a wide variety of audiences and seeing her create these enchanting melodies on stage as a solo artist really is something that needs to be experienced.
On to the new album, ’Invocation’ and ‘Supplication’ are both three song cycles which come together to form a stunning double album. Conceived and recorded during the enforced Covid lockdown, this is the most ambitious of Jo’s work by some way and perhaps the lack of deadlines and tours allowed Jo to explore and expand her artistic boundaries.
The orchestration on ‘Invocation’ is much greater than previous releases with the recording including a French horn, percussion, bass and a choir (who all recorded their pieces on mobile phones!). In contrast, ‘Supplication’ is more intimate, but no less epic, with the cello being the musical centrepiece.
A key element of both of these albums that I have yet to mention is the outstanding contribution of two phenomenally talented guest vocalists adding yet another dimension to the already epic soundscapes. ‘Invocation’ has the haunting, ethereal vocals of Maria Franz (perhaps best known for her work with Heilung) while ‘Supplication’ benefits from the immense Baritone talents of Lorenzo Esposito Fornasari. Both of these work really well with the music, indeed these pieces were composed specifically with these two artists in mind.
Although ‘Invocation’ and ‘Supplication’ are separate pieces, they were composed simultaneously and are perhaps best listened to as one piece, with the contrasting but complimentary styles feeding off each other. As I mentioned above, they are the most ambitious of Jo Quail’s releases to date and they are magnificent. If you are already a fan, you simply must pick these up. If you’re not yet familiar with Jo Quail, but fancy something different from your usual aural battery, I highly recommend that you give this a listen.
I can’t wait to hear some of this music live, and I hope that at some point Jo is able to pull together a choir, musicians and the guest vocalists to do justice to the full potential and power of these releases.
(8.5/10 Andy Pountney)
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