| Imagine folk, progressive rock, jazz and electronica rolled into one, then given a distinct Eastern tinge, and you’ll be someway there. Let the imagination run wild - if Nick Drake and Jeff Buckley fronted King Crimson, which for this occasion also featured Joni Mitchell, the Incredible String Band and Ryuichi Sakamoto, you’ll be somewhere closer still…
Mandala’s is a sound which is consistently difficult and unjust to pigeonhole, but the tag “Folk-Noir” is the one that people keep on coming back to. A new genre for a new sound.
They are already striking a resounding chord at the niche end of the market. Time Out called them “Intimate and enchanting”, The Metro commended their “Atmospheric romanticism”, while The Independent praised their “Knife-edge atmospheres with intricate and delicately poised arrangements”.
The line-up is built around the core of Neil Marsh and Francis Booth, who have been the driving force behind Mandala since its formation in 1997. Neil, who luxuriates in the recordings of David Sylvian and Jeff Buckley, handles the songwriting, guitars and vocals, while Francis, who’s iPod is as home to obscure Bjork recordings as it is the bittersweet tones of Nick Drake, handles the bass and electronics.
At the beginning of 2005 they decided to expand, that’s when the full force of the motion really set in – the point from which they haven’t looked back…
The recent additions are the incomparable Will Spurling on drums, who’s as comfortable playing with a lilting jazz swing as he is a full-on rock assault, the deeply haunting “soprano-and-then-some” (The Independent) voice of Kerry-Fleur, and the beautiful tones and perfect counterpoints of Corinna Robins and Natalie Rozario, on violin and cello respectively. Put all of these elements together and you’re faced with a sound that will keep you on edge whilst grabbing at your heartstrings.
July 2005 sees the debut release of this ensemble, only they’ve decided to release two EPs at the same time… ‘Before Memory’ represents the electric orientated songs which have become live favourites, such as ‘The Dark Waltz and ‘Fire Is Mine’. ‘The Tears Of A Thousand Angels’ represents the more reflective, melancholic side of Mandala and features lushly layered vocals and mellotron, as in ‘Shadows Play’ and ‘Spoken’. These songs were recorded over May and June, and whilst managing to capture the energy of the live versions, they benefit from an elaborate and rich sound, produced in the band’s own Chamber Studios.
A balance, a coming together of seemingly disparate ideas into something tangible and beautiful - with contrast, but never a dilution of the ideal – is what the band has set out to attain. With the new line-up wowing audiences far-and-wide, and with these new releases, that’s just what they’re achieving. |
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