Blackmore's Night
The Village Lanterne

Blackmore's Night is by far my favorite band. Active since '97, this ensemble led by Ritchie Blackmore, former guitarist of Deep Purple and Rainbow, and his partner Candice Night, has been able to produce great albums, where medieval and Renaissance music, always a Blackmore's obsession, is expertly reinterpreted and presented in a unique guise, with dreamy atmospheres, meticulously crafted arrangements, and some healthy moments of electricity.

I own the entire discography, and I've found it difficult to determine, beforehand, the group's best work (while it's undeniable that the less successful albums are Under a Violet Moon and Fires at Midnight, both quite mediocre). After listening to every single album, I've concluded that the one that best synthesizes the style of Blackmore's Night and features the best tracks is the album reviewed here, "The Village Lanterne."

The album was released in 2006 under the SPV label, and a limited edition with a bonus disc and a very distinctive artwork was also published... since I own this version, I will later explain its peculiarities. Now let's move on to the tracks:

The opening track, "25 years", is an excellent acoustic ballad where the sound of castanets and bombardes stands out, with an almost hypnotic atmosphere perfectly supported by Candice Night's ethereal and brilliant voice. Then comes the title track, which was also chosen as a single: this is perhaps the epitome of the group's music: a dreamy and romantic song, yet with lush and grand arrangements, and a fairytale-like lyric that doesn't descend into the ridiculous and kitschy. Ritchie Blackmore himself directed the song's video, hopeful yet not overly saccharine.

With "I Guess It Doesn't Matter Any More", the electric undertones emerge, making this track appealing even to more rock-oriented listeners, though it never becomes truly hard: even when switching to electric guitar, Blackmore offers an abundance of melody in the riffs and solos, making the track compelling yet still very elegant. "The Messenger" is the album's first acoustic instrumental piece and is a true masterpiece: the Man in Black (Blackmore) crafts emotionally intense arpeggios and a spine-tingling final solo, making him easily mistaken for a conservatory master.

"World of Stone" is one of the many traditional tracks rearranged by the group, once again exuding that magical ancient aura combined with modern elements. "Faerie Queen/Faerie Dance" has a structure the group has used numerous times since their first album: the first part of the song is calm with vocals, while the second is instrumental and much faster and rhythmic.

"St. Teresa" is a cover of the American singer-songwriter Joan Osborne, and is a highly energetic and captivating track where the electric guitar reappears, although it's preceded by an acoustic solo reminiscent of the earlier "The Messenger." "Village Dance" is the second instrumental of this album, a short and playful track, perfectly supported by the duel between two acoustic guitars.

And here we arrive at perhaps the gem of the entire album: "Mond Tanz/Child in Time." It's a medley incorporating the instrumental "Mond Tanz" from the group's first album "Shadow of the Moon", and the iconic Deep Purple track from "Deep Purple in Rock". At first, the bombardes dominate, outlining a joyful and carefree atmosphere, with a very danceable rhythm; only later does Blackmore's Stratocaster appear, along with the keyboard riff of "Child in Time." The pathos is that of the original, with even more melody and grandeur, and the female chorus doesn't make Ian Gillan missed in the final crescendo. To conclude, the acoustic sounds return to reprise the theme of "Mond Tanz."

"Streets of London" is a song originally composed by Ralph McTell, perhaps not the best on the album, but equally delightful and very similar to the title track. And here we arrive at "Just Call My Name (I'll be There)", a striking example of another type of song often used by the group: a light, rhythmic, and fast power pop, highlighting the group's ability to touch on commercial shores without becoming saccharine.

"Olde Mill Inn" is a funny, simple, yet incredibly engaging "pub song", the perfect soundtrack for a drinking session with friends at a pub. "Windmills" is yet another ethereal ballad in full Blackmore's Night style, where the interplay of voice and guitar creates a mystical and soothing soundscape. To finish, Blackmore offers a Rainbow song, "Street of Dreams", the best track from the album "Bent Out of Shape": impeccable and passionate pop rock, even better than the original. And so, the album closes perfectly.

Speaking of the special 2CD edition, I must express a negative opinion, as the bonus CD only contains two tracks: "Call it Love", an unreleased song entirely composed by Candice Night, a romantic ballad dominated by the piano, and another version of "Streets of Dreams" with Candice Night accompanied by Joe Lynn Turner, the song's original singer. It's decidedly too little; they could have included several more tracks, perhaps some interesting unreleased songs or live recordings. The album packaging is quite unique: bound like a book and covered in fabric, the booklet is inserted directly into it, and the two CDs are inserted into paper sleeves.

In conclusion, this is a marvelous album that synthesizes everything one of the best bands of our day has to offer, a true guarantee of consistency and quality, for an unmistakable result. If you like neo-medieval music or top-level electric folk, you absolutely cannot miss it!