When La Yeni burst onto the scene last year with her astonishing debut, ‘Yarrow Under The Moon,’ it was as though a hidden gem had been unearthed. It wasn’t just a first step; it was a leap—a mighty one at that. We were so enthralled that we dubbed it the Best Debut Record of 2022. That’s no small accolade, considering the musical smorgasbord we sift through here. The album was like a sudden bolt of lightning in a clear sky, ticking every box for what makes a Folk album resonate with us.
Along with this, her social media is also a treasure troves of great content. With stories, fan interactions, amazing photo shoots, and more. Following her online escapades has been akin to keeping a tab on a dynamic diary that never ceases to entertain. Now, here we are, in a similar electric atmosphere—a new album is not just announced, but is also knocking at the door, ready for release.
Once again, another album coming form what seems like out of nowhere. For us it’s as if she is the Beyoncé of the Celtic folk world, releasing albums just out of the blue. All Hallow’s Eve, is themed around Halloween, a holiday close to our hearts. So, as we stand on the precipice of La Yeni’s sophomore effort, “All Hallow’s Eve,” the excitement is high.
She sets the atmospheric stage right off the bat with “All Hallow’s Eve,” the eponymous track of the album. Opening with the clangor of a distant bell, I must say is not just an aesthetic choice; it’s a mood setter. It creates a spine-tingling air of expectancy, fortified further by footsteps echoing as if walking down a desolate, moonlit pathway. Here, you know you’re about to enter into something out of the ordinary.
And so then in comes the harp, rippling through the air with La Yeni’s vocal. And this isn’t just her singing; it’s a blend of chant-like verses fused with softer, more traditional vocal stretches. The two styles interlace with each other like the vines on an ancient castle wall—equally ominous and enchanting. Really love the style that she choose to go with on this track.
As for the song’s concluding moments, there’s a nice fade-out like the slow extinguishing of a lone candle in a darkened room. To say this opening track sets the tone of the album may sound like a phrase we’ve all heard a thousand times, which overall I would say that it does, but there are still a few twist and turns to be hand.
Acknowledging the thematic shift, the second track on the album, “The Well Below the Valley,” provides an evocative contrast to the introductory piece. This isn’t an original composition but a cover of a traditional Irish folk song, rooted deeply in tales of betrayal and untimely demise.
The song draws its origins from “The Maid and the Palmer,” and its narrative hues are indeed dark; it traverses the tale of a woman unjustly submerged in a well, her life snuffed out prematurely. True to the tradition of the Bodhrán by the Bonfire, this song belongs to those nights around a campfire where stories morph into legends.
While this song has seen its share of variations, La Yeni’s interpretation stands distinct. With her mellifluous vocal range, she flexes her versatility by effortlessly descending into the lower registers. The decision is neither random nor ornamental; it’s calculated to infuse the track with a weighty, almost mournful atmosphere.
There’s a gravity to this song, a heaviness that aligns with part of the album’s overarching mood. La Yeni doesn’t just cover the song, it like she recontextualizes it. She leans into the inherent somberness of the track, not shying away from its grim implications. Her vocal execution adds layers of complexity to an already intricate song.
“Biddy Early,” is a track that serves as both homage and exposition. For those unfamiliar with the iconic Irish figure, the song essentially functions as a capsule biography, capturing key elements of her enigmatic existence. Known in Irish folklore as a healer and wise woman, Biddy Early was a veritable repository of home remedies and is attributed with mysterious abilities that tread the line between the medicinal and the mystical. The song bears witness to these intriguing aspects, give it an almost archival atmosphere.
Much like the introductory piece, “Biddy Early” leans into a chanting style, suggesting a form of musical incantation. The composition feels as though it’s drawing from an ancient well of knowledge, setting it to music that heavily resonates with Celtic undertones. The arrangement is a decisive element that amplifies the historical and cultural context of the subject matter.
This song is particularly compelling because it transforms the legendary tales of Biddy Early into a melodic chronicle. It does more than recount a story; it converts it into a great musical experience that combines folklore and musicology. The chant-like approach heightens this symbiosis, lending the piece a ritualistic air, almost as if La Yeni is invoking the spirit of Early herself through her vocals.
Further enriching the musical palette, the pronounced Celtic influences serve to tether the track firmly within cultural roots, imbuing it with a sense of authenticity. I feel like this aligns with La Yeni’s broader thematic aspirations for ‘All Hallow’s Eve,’ where historical and cultural elements are not just acknowledged but are central to the project.
In encapsulating the mystique of a complex figure like Biddy Early, La Yeni has managed to offer a track that is as educational as it is melodious. It marks a harmonious blend of storytelling and music, wrapped up in a complex layering of vocals and instrumental arrangements, acting as a vital node in the album’s thematic arc.
“Goblin Street,” a departure from the album’s prevailing mood that adds an element of levity and mischief. Kicking off with chortles and chuckles that one could easily attribute to mythical creatures reveling in the night, the track sets the stage for a whimsical yet eerie experience. It’s like a dance, really—a waltz with whimsy that moves in unpredictable steps, embodying the free spirit of Halloween.
Inspired by Christina Rossetti’s famous poem “Goblin Market,” the track transforms written word into an audible festivity. This is a song that’s a celebration, really—a light-hearted escapade into the fantastical, filled with layers that oscillate between jocund and subtly unnerving. The melodic line navigates this delicate balance, evoking an environment where imagination is unshackled and fantastical beings come to life, if only for the duration of a song.
While the album as a whole navigates through darker and more introspective themes, “Goblin Street” acts like a breath of fresh air. It gives you permission to embrace the magical absurdity inherent in tales of creatures who haunt and beguile. Here, the creatures aren’t so much haunting as they are inviting you to join in their revelry, albeit with a wry wink.
What makes “Goblin Street” noteworthy is its ability to channel the essence of folklore into a track that’s accessible and, dare we say, fun. La Yeni manages to encapsulate that elusive, childlike wonder often associated with tales told around a campfire or read from a weathered book of legends. It’s a charming offering to the album’s weighty subject matter, providing a momentary respite before diving back into the depths of the mysterious and the arcane.
All in all, “Goblin Street” contributes an indispensable element to “All Hallow’s Eve,” diversifying the album’s emotional range and ensuring that it isn’t confined to a single tone or mood. It’s a track that gives permission to embrace the holiday’s more playful aspects, while still staying true to the overall thematic objectives La Yeni has so artfully set forth.
“Double Double Toil and Trouble,” a track that dives into the Shakespearean realm with zest. This song lifts the veil on the mystical and whimsical aspects of witchcraft, embracing the theatrics of potion-making over a bubbling cauldron. It’s a playful nod to the famous lines from “Macbeth,” yet it’s anything but grim or foreboding.
La Yeni’s vocal performance is particularly great here, as she adopts a tonal quality that evokes the archetypal witch figure we’ve come to associate with lore and literature. Yet, she avoids descending into parody. Her voice takes on an exaggerated, almost performative quality that’s rich with character. Imagine a wise elder, steeped in esoteric knowledge, offering a melodious incantation—it’s expressive and laden with flair, making the mythical feel oddly approachable.
This level of vocal agility displays La Yeni’s multifaceted artistry. She doesn’t merely sing; she becomes the essence of the character she’s portraying, allowing her voice to be a vessel for the persona embedded in the lyrics. This is not the “witch” of derisive caricature but a more nuanced portrayal that pays homage to the craft while injecting a dose of levity into the proceedings.
In terms of musical composition, the track is a really nice concoction in its own right—balancing light-hearted rhythms with slightly ominous undertones, much like a well-brewed potion. It makes for an enjoyable listen that broadens the album’s scope, ensuring “All Hallow’s Eve” is as multifaceted as the many characters and creatures it seeks to represent.
“Waltz of the Spirits” serves as a haunting interlude right in the center of the album—a pivot point that serves to underscore the thematic nuances that run throughout “All Hallow’s Eve.” What I love about this one, it’s an instrumental piece, choosing to rely solely on musical language to articulate its ethereal ambiance. In doing so, it dispenses with vocals altogether and invites us to focus on its refined composition.
From the onset, the harp takes center stage. Then, lulling us into tranquility, we get what can be best described as a “wailing” vocal backdrop. It’s this quality that manages to convey an air of otherworldly mystery, almost as if the harp itself is channeling spectral energies.
Then there is the introduction of what appears to be a Theremin—or at least a sound that bears a striking resemblance to it. This serves to infuse the track with a vintage ghostly vibe, reminiscent of the ’50s and ’60s classics films where such an instrument was often employed to enhance the supernatural elements of the story. But here, the Theremin-like sound is subtle, functioning more as an accent rather than dominating the soundscape, further adding to the track’s enigmatic charm.
In terms of musical architecture, “Waltz of the Spirits” demonstrates keen attention to detail. It’s not simply a throwaway instrumental piece to fill the album; it’s a stand-alone composition that sets a very specific mood. Its ambient quality makes it a fitting soundtrack for your seasonal celebrations of the uncanny and mysterious, likely to be played in loops to maintain a consistent air of the mystical. I love tracks such as this.
It’s a nod to the lore and myths that underpin Halloween, manifested in musical form. If each song on “All Hallow’s Eve” were akin to a costumed reveler at a Halloween ball, “Waltz of the Spirits” would be the mysterious figure in the corner—face obscured, yet contributing to the overall atmosphere in a quietly impactful way.
“Come To Me By Moonlight” immerses us in an evocative realm where the veil between life and death appears remarkably thin. Predominantly led by a piano that conjures the illusion of nightfall and spectral encounters, the song explores a world where human qualms—fear, sorrow, pain—are contrasted with the alleged tranquility found in the afterlife.
The lyrics themselves unveil a daring perspective that’s both morbid and soothing. “Come to me by moonlight the tombstone heads. Through the gates of darkness and between spider webs,” invites the notion of crossing a boundary, possibly the ultimate boundary between existence and non-existence. It’s like a siren’s call, but not from a mermaid on a rock; instead, it emanates from an ethereal world veiled in nocturnal allure. The claim that “the world of death is pleasing” and that it’s a domain “where death and shadows reign” delves deep into the human psyche’s complex relationship with mortality.
“Under cloak of night, spirit stands like flames until the grim morning light,” adds a visual texture that befits a haunting portrait. The imagery of spirits as flames existing solely in the darkness almost humanizes the otherworldly, making it strangely approachable. The concept that the underworld is a place of escape from “sorrow, of worry, fear, and pain” offers a twist that’s less about macabre horror and more about ethereal solace.
The song doesn’t shy away from the big existential questions. I would say, pretty far from it, actually. It lures you into pondering them, all set to a backdrop of melancholy piano keys that resonate with a ghostly but gentle touch. If “Waltz of the Spirits” serves as the album’s atmospheric nexus, “Come To Me By Moonlight” emerges as its poetic soul—a realm of philosophical questions presented as an alluring, mysterious vision.
It’s as if the album dares to extend an invitation of its own, coaxing you to explore further into its myriad themes of life, death, and the shadowy spaces in between. But unlike a night in a haunted house, where the aim is to escape, here the objective seems to be contemplation, deepened by each echoing piano note. With this track, As we near the end of the album, “All Hallow’s Eve” doesn’t just celebrate the season; it challenges you to examine what the season—and perhaps even life itself.
“Ghosts of Inisheer” and “Hunters Moon” both offer a delightful divergence into the folklore-imbued depths of “All Hallow’s Eve,” each packing its unique charm. While “Ghosts of Inisheer” unfolds initially as an enchanting harp-led composition, it soon ushers in an unexpected but fitting rhythmic shift. About a minute in, the soft tinkle of the harp yields to an almost marching snare sound, giving the song an escalating pulse. The snare acts like an auditory cue, evoking the sense of a spectral procession on the mythical Irish island of Inisheer. It’s a clever way to interweave rhythm with narrative, without letting words do all the heavy lifting.
Switching gears to “Hunters Moon,” this track shines light—albeit an eerie one—on the sheer beauty of La Yeni’s vocals. With sounds that echo the haunts and specters of a moonlit night, her voice effortlessly navigates through an aural atmosphere laden with haunting qualities. It pairs well with the overall sonic milieu of the song.
“All Soul’s Day” serves as a fitting ‘see you next time ‘to an album that has traversed the terrains of Halloween-inspired themes and folklore. This closing track strips everything down to the bare essentials: La Yeni’s vocal artistry. With a runtime just shy of two minutes, the song doesn’t linger unnecessarily but instead elegantly carves its niche within the album’s overarching aesthetic.
La Yeni uses her vocal range to create a sonorous atmosphere, delivering an emotional gravity back with a choir. It’s almost as if she’s whispering directly to the ancient spirits and myths that have been the thematic staples throughout the album. With a minimalist approach, she allows her voice to stand unadorned.
As the final notes echo, they impart a sense of finality that’s befitting the holiday it celebrates—All Soul’s Day, the time for honoring and remembering those who have passed on. In that respect, it acts as an atmospheric epilogue, neatly tying together the various thematic threads that have been unspooled across the duration of the album.
This album is a veritable smorgasbord of Halloween musical fare, delivering on its promise to cater to a wide array of tastes. From its darker folk elements that evoke the moody stylings of bands like Faun, to its jauntier tracks that pay homage to traditional Halloween fun, it’s an album that doesn’t merely exist within one world; it comfortably strides between two.
Let’s talk about that dual nature. On one hand, the album taps into the profundities of folklore and ancient traditions. These aren’t just tunes you’ll hum absentmindedly; they dig deep into the roots of Samhain, invoking spirits, legends, and age-old customs with deft musicianship. When you delve into these tracks, you’ll find a reverence for the mysticism and spirituality that are often associated with this ancient festival marking the end of the harvest season.
Flip the record, and you’re transported to the whimsical realm of pumpkin carving, candy corn, and neighborhood hauntings—the Halloween that’s celebrated with costumes and gleeful spooks. Here, the album indulges in playful escapism, capturing the levity and mischief that make October 31 a yearly highlight for kids and adults alike.
It’s this duality that makes the album so compelling. It doesn’t just zero in on one aspect of the season; instead, it embraces the full spectrum, from the shadowy to the lighthearted. Whether you’re looking to ponder the mysteries of life and death or just seeking a soundtrack for your Halloween festivities, this album has got you covered.
In essence, it’s a multifaceted musical offering that appreciates the many shades of Halloween, from its solemn pagan roots to its modern-day celebratory spirit. It pays tribute to the festival’s complex heritage, serving as both a solemn nod to the history of Samhain and a cheerful tip of the hat to the contemporary joys of Halloween. With its versatile tracklist, the album stands as a robust and well-rounded celebration of all things spooky and spiritual, making it a must-add to your seasonal playlist.
