The Green Fields of Glentown
The Green Fields of Glentown by Moriath is a 14-part album of traditional Celtic music. The opening song is separated into three parts: "Jenny Dang the Weaver/ Humours of Tiffal/ (and) Jack Broke the Prison Door. Moriath separates several tracks into different songs or movements. I can rarely tell when the songs change, however. I attribute this to the repetitive nature of the music genre. While Regina Kate and Griffin Cobean are both extremely talented musicians, their talent alone does not help me distinguish their songs apart. More than likely, I just don't have an ear for Celtic music that has been passed down for decades upon decades.
I cannot deny the musicality that went into the creation of this album. Kate plays the fiddle like the Devil himself, and Cobean plays an instrument called a bouzouki, an offshoot of the lute. Cobean provides a frantic rhythm throughout the songs, and his strumming pattern serves as the percussion of the album. The song "The Old Man Rocking the Cradle" implements Celtic whistles that are reminiscent of a funeral procession. Both somber and beautiful, this track displays Moriath's versatility.
This album has no song that stands out besides "The Old Man" There is no true "single." The plain reality is this: popular music of today and the music of Moriath exist on entirely different spectrums. Indeed, the band members are incredibly skilled and deserve more respect, but my ear cannot listen to Moriath for very long. Consider Mumford & Sons and The Avett Brothers. They have found ways to combine some of the rawest aspects of real folk music with identifiable lyrics and marketable melodies. Their abilities are unquestioned, and their popularity increases with each album.
But, Moriath does not need to change their sound, nor should they. As I listen to The Green Fields, I hear a genuine exuberance that a lot of musicians lack today. For Moriath, these songs are about the feeling they experience; about the emotions they convey; about the tradition behind them; about the mastery of their instruments. I can politely say that Moriath will never be my cup of tea, but I also say that I enjoyed hearing legitimate musicianship. My ears have been opened to a new genre, and I recommend to all of the LMFAO lovers out there that you switch it up a little bit. It doesn't have to be Irish folk music, but it should be real music.
I can only imagine how amazing a passionate voice would sound layered against the powerful strumming and plucking. Somehow mournful and happy at the same time, the music demands the soul's attention. Alas, I feel this is a crossroads of some sort. I stand one one side, requesting lyrics. Moriath stands opposite of me, remaining staunch in their tradition. Maybe somewhere in the middle, a masterpiece resides.
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