Wild Gods: The Glorious Abysmal review – post-rock meets Hebridean folk in healing songs
Wild Gods: The Glorious Abysmal review – post-rock meets folk

Wild Gods, a new project from Argyll's Jamie Livingstone, releases its debut album The Glorious Abysmal on 24 July. The eight-track record draws heavily on Hebridean waulking songs—communal tunes traditionally sung by women while beating and softening tweed before mechanisation—and Celtic ceremonial music, blending them with post-rock and folk-rock elements.

Track Highlights and Inspirations

The album opens with Keening, featuring a traditional Gaelic lament for the dead, an accordion drone, and a distant rumble. Carlene's Pin, a 10-minute piece, marries Susannah Stark's Gaelic vocals with clanging Bad Seeds guitars, folk fiddle, and a bassline reminiscent of Godspeed You! Black Emperor. Rest and Be Thankful, named after a Scottish reel and a famous viewpoint on the A83 where couples meet for sex, builds as a tender ballad before erupting into joyous folk dance and a shimmering interlude. Ortha, named after a Celtic incantation, reflects Livingstone's transformative ayahuasca experience.

Healing Through Music

The project is rooted in Livingstone's work with Vox Liminis, a Glasgow arts organisation that supports people with experience of the criminal justice system through creative projects. This context adds depth to the album's theme of mining the past while serving as a vehicle for healing. Hilma of Klint, named after the Swedish mystic painter, features exquisite fiddling, while the finale Aye Right combines rippling fingerpicked guitar with samples of congregational psalm singing that slide in and out like a fever dream.

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Other Notable Releases This Month

Sam Carter's Sings Nic Jones (Captain Records) is a live tribute to the guitarist and arranger, with cover art recalling Jones's 1980 masterpiece Penguin Eggs. Highlights include Carter's take on the 19th-century ballad Canadee-i-o. Polish trio Tercet Imperial's debut Prymat (Instant Classic) reimagines traditional oberek and mazurka dances with synthesisers and eight-bit electronics. Martin Carthy's Along the Road Forever: Live at the BBC spans nearly 23 hours of music, including 237 unique repertoire performances.

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