Messages To Bears
Folding Leaves

The only thing that can make an autumn landscape even more melancholic and at the same time enjoyable is a suitable musical background. Here we are spoiled for choice: my personal advice, however, is to focus on simplicity and minimalism. Calm acoustic arpeggios, a bit of piano; that kind of sound that highlights the most fragile aspect of nature and of the soul itself. If used wisely, even a bit of electronic instrumentation can make a good impression.

Recently, in the indie music scene, the so-called ambient folk has begun to make its way (example: Low Roar). Purists may turn up their noses at the mixture of electronic, ambient, and folk. Yet, although I even consider myself a purist of folk and acoustic music (and therefore know little to nothing about electronics, for which I apologize for any mistakes), I was pleasantly surprised by this record.

Behind the sylvan name of Messages To Bears is Jerome Alexander, an Oxford-based multi-instrumentalist. His one man band, already with some small recording experiences behind him (particularly the album Departures, dating back to 2009), brings forth a record consistent with previous productions, not particularly innovative for the genre but certainly interesting and original.

The music in Folding Leaves is of an evocative type: with its disarming simplicity, it induces nostalgia, recalls landscapes, moments of lived life, particular emotions. Already from the first track, Daylight Goodbye, the intent is clear: the introduction on the piano, which then resolves into a climax featuring ethereal vocals that will characterize almost the entire album, leaves room for nothing but imagination. This sublime evocative sensation is then revisited and improved in the following Wake Me, with a fragrant acoustic arpeggio accompanied by a few selected percussions, complete with birds chirping in the background.

Much more rhythmic is Mountains, which, in some ways, is the highlight of the album: besides being among the songs on the album with well-defined lyrics, it relies on a fascinating bucolic atmosphere, which whirlwinds the listener into Arcadia. And if the electronic influence is already felt in Farewell, Stars, in Everything Was Covered by Snow it assumes a predominant role, representing a winter landscape first contemplatively, then almost frenetically.

Among the successful forays into electronics are the more sparse Undone, an acoustic gem where the vocals play a decisive role, and Unleft, which closes the album by almost summarizing the elements that best characterized it.

The quality of such a record is that it allows you to develop a fascinating contemplative attitude. I recommend playing it strictly at low volume, with the sound of rain in the background.