Featured on episode 34.
British Ed Haydon, who first started playing the piano at 7, already liked to improvise and compose at that tender age. He then went on to teach himself the guitar and music has been part of his life ever since. Norwegian Alexander Hallberg’s interest in experimental tracking started back in 1995. Although it fell to the wayside for a long decade, a man who makes sure he listens to all songs in full in order to understand their message was never going to stay away forever.
Weekly Podcast is willing to wager that both these gentlemen carry the virus which irremediably turns a person into a music lover.
That is one exceedingly contagious virus.
Darkness Falls opens upon a lone piano line which turns into a leitmotiv. The notes of it are limpid and delicate but the succession of chords is resolutely melancholy, almost sinister. Just this piano is enough to breathe disquiet into your ears and the arrival of drums heightens the sense of foreboding. Simply with these, the intro does a beautiful job of hinting at the intensity and magnitude of all that is to come.
The melodic leitmotiv never becomes irritating, probably because this is no gimmick. Its purity has it float elegantly over the track rather than hammer into it. Darkness Falls, though it becomes denser as more instruments join in, never loses any of its dramatic acuity, on the contrary. Each additional instrument serves a purpose rather than just being there for effect. Even the silences are ominous in this piece, which simply keeps building up to stately heights. Maintaining and intensifying such tension over 3:47 minutes and staying creative throughout is an exploit already. Haydon & Hallberg, however, actually decided to develop this musical piece in a longer second part. Amazingly enough, part two offers an even greater array of subtle and breathtaking moments and, indeed, it is only after listening to it, too, that the splendid Darkness Falls truly feels complete.