Copal * Into the Shadow Garden * New York City outfit Copal release their debut album, Into the Shadow Garden this month. A beguiling and somewhat mysterious effort, this record lives up to some of the hype, indeed mixing old-world Eastern European, Middle Eastern and Nordic influences with more modern instrumental elements.

          The record opens with a faded-in drone, instantly creating an atmosphere of mild tension that remains throughout most of the album. The first rhythmic element to appear is a pulsing yet reserved bass line courtesy of bassist/keyboardist Chris Brown, followed by drummer Karl Grohmann’s laid back groove. The rhythm section on this record remains solid and focused throughout, yet plays just enough behind the beat to give the impression that the listener is somehow gliding along upon a mystic, old world dreamscape. Flourishes from leader and composer Hannah Thiem’s violin first appear at this point, as do the primary harmonic accompaniment, the cello. It is the melodic interaction of Thiem’s violin and the cello of Isabel Castellvi and Robin Ryczek that stands out most on this record – the cellos often lay down a drone that provides an anchor for Thiem’s modal improvisation, while at other times they harmonize, with a tendency towards 4ths and 5ths in their harmony – this element in particular evokes a distinct ‘East meets West’ feel. In between all these elements, bassist, keyboardist and sound designer Chris Brown provides the finishing touches, filling out the sound with Fender Rhodes, sound design and synth pads.

          All of these elements are put together with aplomb, taste and professionalism. This is undoubtedly a record that delivers in terms of its slick sound, crisp, world class playing and competent improvisation. It is quite evocative in the sense that the harmonic structures being used are instantly recognizable by even the least educated of listeners as ‘ethnic’ in its sound. It is here that I find fault with the record, however.

          I found upon listening the first time, it was too easy to dismiss the record as same-ish, ethno-classical wandering over professional session playing. I found it much easier to picture a New York session drummer playing with headphones in a high class studio than to picture deep forests and mythical streams. It was only after a second and third listen that some of the melody lines, harmonic intricacies and rhythmic subtleties had embedded themselves in my mind enough to start to ignore those initial impressions. Indeed, Thiem’s melodic and harmonic tendencies show a very talented, highly musically educated mind at work, but I would have preferred to hear a little more ‘grit’ in the work, a little more street-wise direct emotional expression, instead of the somewhat alienating crispness of a too-perfectly played and produced record.

          Many people may find it hard to look past this album’s very slick exterior into the heart of the compositions – Into the Shadow Garden seems somewhat guarded, reserved, even unable to express itself to the fullest extent. However, an educated and patient listener, who is willing to put a little work into this record will enjoy it immensely. It is not only professional and slick, it is also evocative and genuine – all in all a very worthy debut album indeed.