Lusitanian Ghosts III follows on nicely from the bands previous two albums in its use of traditional Portuguese instruments in a modern way, so although this album sounds modern, it is recorded in one take to tape using Chordophones, violas Amarantina, Campania and Terceirense that are played and arranged by Neil Leyton and Micke Ghost (Lundin) the latter of whom, I wonder if he's related to Swedish Prog legend Hans Lundin. They are joined on this album by Joao Sousa, Abel Beja, Toza Bexiga and Jan-Eric Olsson. The album was recorded at Clouds hill Studios in Hamburg and mixed down on quarter inch tape into both a stereo and mono mix, make your own choice which you prefer, this review is of the Stereo version.
The album opens with The Long Train that has ringing chordophones with sparing percussion and lyrics asking us to let it all out while trying to survive The Long Train of life, with a good catchy edge like much of the material on the bands last album this will embed itself deeply into your brain within a few listens.
Catwalk sashays into view with a good strutting sound as you parade your wares, as the chordophones play a reasonably funky tune, with some woozy feelings coming though as you try to turn your local street into a catwalk once more, as you hold out for the possibility of still being in love.
Seeds has a western soundtrack opening before the more strident tune comes in set against a rumba beat, as this tale of dying on the battlefield tries to make sense of the stupidity of war and the common hatred of invaders or those stupid enough to start wars. This is dramatic as the battles unfold.
September is about the pull and push of parental controls at the end of summer, the autumnal feel comes through the music, as memories of family interactions are detailed.
Vagar reflects on how modern living might not be a great as it's made out to be, as they ask us to slow down and enjoy life more.
Dr Ana Maria slows things down to carefully picked strings on this tale of the death of a neighbor who fell down the stairs, as they ask if they did enough to save the neighbor.
Got Enough of all the modern worries, fears and problems, as this gently weaves its way, as at times it sounds like a sitar rather than the chordophones or violas, as they stand and watch the rose parade bring in another year.
Shameless is for someone whose been sold out for all the wrongs they have done. Set against the ringing chords that play at a fast pace.
Pure Evil is a tale of insurrection back in 1974 as the people's army struggled for a more equitable life in Lisbon, rather than the Pure Evil of our current times, the historical tale weaving its points, to make sure we know how doomed we are at times, over a gently evocative folk backing fighting against power mad megalomaniacs everywhere, something that seems to be desperately needed right now.
Black Wine White Coffee is the opposite of how I'd want it, as the feelings of relaxed folk music are jarred by the lyrics asking us to listen closely to our bodies as they want us all to drink our salutes, finding a better way to arrange our societies so stand up and be counted and help to find the solutions.
Bright Lights asks us not to be fooled by populism and all the great deceivers trying to stoke the fires of war, instead turn to the bright lights seeking more peaceful and sensible solutions to our current malaise through this slow yearning eulogy for so called modernity.
Find Out More at https://www.fnac.pt/Lusitanian-Ghosts-Iii-lp/a10842007#omnsearchpos=2 for mono https://www.fnac.pt/Lusitanian-Ghosts-Iii-lp/a10842008#omnsearchpos=1 for stereo https://lusitanianghosts.bandcamp.com/album/lusitanian-ghosts-iii https://www.facebook.com/lusitanianghosts
