Songs From The Labyrinth - nouveau livre

This autumn Sting ventures into "new" musical territory with an album featuring the music of acclaimed Elizabethan songwriter, John Dowland (1563-1626). Sting is joined on this recording by much-admired lutenist Edin Karamazov, in what he describes as "a soundtrack to Dowland's life in words and music". Songs from the Labyrinth will appear on Deutsche Grammophon, the world's most celebrated classical-music record-label. It is extracts from this extraordinary letter which Sting incorporates into this album as short recitations, re-creating a flavour of Dowland's life and times. Sting said "This project was never really meant to be a record. It was a labour of love. I wanted to learn these songs, and out of curiosity, Edin and I just kept going. I think it only became a record when we decided to put extracts of this letter in. Those that are familiar with John Dowland normally think of him as being this melancholy, doom-laden character; but he can write songs that are absolutely joyful - full of passion and happiness. He has it all." Sting continues, "I'm not a trained singer for this repertoire, but I'm hoping that I can bring some freshness to these songs that perhaps a more experienced singer wouldn't give. For me they are pop songs written around 1600 and I relate to them in that way; beautiful melodies, fantastic lyrics, and great accompaniments.", In choosing to cover the music of John Dowland (1563-1626), who is known as the "melancholy madrigalist" from his output of cheerful ditties like "Flow My Tears," Police bandleader Sting has entered into a whole new realm of austere eeriness. Originally inspired by the gift of a lute, the rock superstar and activist sings the songs, deliciously sweet and tender or spirited by turn, accompanying himself, with Edin Karamazov sitting on lute and archlute. For listeners accustomed to hearing material of this period interpreted by rigorously trained early music stylists, especially countertenors and the like, Sting's sometimes tight-jawed, chest-heavy vocals may seem amateurish. It's undeniable that in four-part harmonies, the singer, tightly overdubbed, comes across like a combination of the Swingle Singers and Queen (meaning Freddy Mercury and crew, NOT the first Elizabeth). But it's important to remember that music of this period was routinely heard as a casual diversion in private homes, even more often than at Court. It was considered a crucial social skill to be able to join in with an adequate degree of skill, but not everyone was able to negotiate the perilous melodic twists and turns typical of the era's music. With this in mind, the overall effect is of a candle-lit, postprandial entertainment in the home of an English gentleman. Muttered readings from Dowland's letters and brief snippets of sampled birdsong aside, it is a courageous effort, displaying heartfelt admiration for the composer and a considerable degree of earnest charm. --Christina Roden