Tirill Downloads

Dance With The Shadows
is a magical mix of classical, folk, and even gothic elements, full of emotion and fire, where flashes of bright melodic color are juxtaposed with dark somber tones, all to wonderful effect. Tirill’s expressive vocals and lyrics are supported well by the beautiful and delicate instrumental mix, the overall tone freely shifting from ethereal and atmospheric to moody and pensive without warning, all within a gentle and warm blanket of nordic folkiness. Additional musicians support on cello, accordion, additional guitars, bass, woodwinds, glockenspiel, bouzouki and percussion. The vocals are often double-tracked and harmonized, whispered, and occasionally treated for a beautiful haunting effect, as on the opener Nights Are Colder, where she is also joined in harmony by a male vocalist and a masse choir effect at the crescendos. The listener might at times be reminded at times of the Linda Perhacs album Parallelograms, at least in overall tone and approach. In all, this is a stunning debut that should interest fans of the gentler and folkier side. Peter Thelen, Expose

Dette har blitt en udiskutabel perle
der det handler om lavmælt, vakker, mystisk og spennende musikk. Akustisk gitar, fløyte, trekkspill, fiolin, stemninger og ikke minst Tirills vakre stemme har gjort dette albumet til noe helt spesielt. Jeg tenker på Maddy Prior til tider, både hva stemme og komposisjon angår. Hør for eksempel den usannsynlig vakre “Dressed in Beauty” og dere skjønner hva jeg mener. Det er selvfølgelig en smakssak, men jeg tror de fleste med sans for det vakre og stemningsfulle vil få stort utbytte av dette albumet. Bjørn Nørsterud, Scream Magazine

This is a beautifully moving debut album
Helped by a cast of a dozen musicians,including members of her old band White Willow, Tirill Mohn has recorded an immediately seductive album of folk pop. Her songwriting is elegant and graceful,never lowering itself to the common denominator, yet remaining easy to grasp. The arrangements are rich in Nordic folk, progressive and gothic elements. The result is an album that sounds slightly medievalesque without surrendering to the clichés of the genre (like Blackmore¹s Night, for instance) or adopting a dark atmosphere… ..In short, A Dance with the Shadows is a complete success and a revelation of Tirill Mohn¹s talent. It has a lot of crossover appeal. Fans of Loreena McKennitt should definitely give her a try…. François Couture, All Music Guide

Tirill Mohn
may be familiar to many of you as the violinist/former member of White Willow that played on Ignis Fatuus. Tirill (who is an extremely talented musician and vocalist) has been working on this debut solo effort for quite some time. This is gorgeous laid back progressive folk music that will send chills up and down your spine. She has an ethereal quality to her voice and the accompaniment of flute, keys, acoustic and electric guitars, violin fit the music perfectly. Ken Golden, The Laser’s Edge Records

Uno dei migliori dischi
del progressive degli anni ’90 è Ignis Fatus dei norvegesi White Willow, le cui contaminazioni con il folk nordico impregnavano l’album di un alone magico e misterioso. Tra i numerosi musicisti presenti in quello splendido lavoro figura anche il nome della violinista Tirill Mohn, che con il suo strumento rivestiva un ruolo non indifferente nelle canzoni più delicate ed intimiste. Dopo quasi dieci anni dallo splendido debutto dei White Willow si registra ora l’esordio solista di Tirill, che nell’album A dance with the shadows ci fa ascoltare undici composizioni pastorali, serene e malinconiche al punto giusto. In questo cd Tirill, oltre ad esibirsi con numerosi strumenti, ci fa conoscere la sua incantevole voce, soave e melodiosa, con la quale evita acuti in stile Haslam o accademici virtuosismi, puntando piuttosto su una prova emotiva e caratterizzata dai forti sentimenti, che colpisce, così, direttamente il cuore dell’ascoltatore. Gli undici brani presenti sono stati composti tra il 1996 ed il 2001, in anni diversi e stagioni diverse e rivelano anch’essi il tempo mutevole della loro creazione. Infatti, Tirill canta della neve invernale e dei colori della primavera, del mare e della terra, delle luci della notte, di danze d’ombre, del fascino delle lande scandinave e delle eterne contraddizioni dell’amore. Un numero ragguardevole di musicisti (tra cui anche Sylvia Erichsen, cantante dei White Willow) la accompagna nella creazione di un folk rock principalmente acustico, in cui flauti, archi, chitarra, contrabbasso, fisarmonica, ecc. creano fini tessiture e delicate armonie che ben si amalgamano con la morbida voce della cantante introducendoci scenari particolarmente evocativi. Elementi di prog e di cantautorato non mancano in oltre tre quarti d’ora di musica in cui ci viene trasmessa grande sensibilità, il feeling è in primo piano ed ogni canzone può essere vista come una splendida perla (Winter Roses e Vendela, a parer di chi scrive, le più brillanti) che va ad affiancarsi alle altre nella realizzazione di un magnifico gioiello. Ad arricchire ulteriormente questo bellissimo cd, c’è anche la presenza di un videoclip, che è possibile vedere tramite un computer, del brano It was blue. Peppe, Rottersclub

Norwegian multi-instrumentalist
Tirill Mohn will be best known to progressive music fans as violinist with progressive rock band White Willow, playing on their debut album Ignis Fatuus as well as performing in the live incarnation of the band for a number of years. Her first solo album--three years in the making and including songs dating back as far as 1996--will certainly appeal to all those who enjoy the more lyrical, folky aspects of the band. It is entitled A Dance with the Shadows (The Wild Places (USA) WILD013, 2004). The ambience throughout is one of haunting beauty--of mystery, longing and calm. The tone is set even before the CD is removed from its case, by a wonderfully presented booklet, with its subtle, ghost-like eroticism. This is continued as the album weaves through an almost impossibly beautiful 50 minutes. Though each of the eleven songs maintains the same, tranquil atmosphere, the arrangements are amazingly varied. Oystein Vesaas' wonderfully liquid production lifts each instrument from the speakers, especially the vocals which are delightfully intimate. Tirill herself is a revelation, singing lead on ten out of the eleven songs in her unpretentious, girlish and deeply effective soprano, writing, arranging and contributing: violins, keyboards, electric and acoustic guitars, percussion and flutes. The other musician (of several) worthy of specific note is Ketil Vestrum Einarsen on flutes. Readers of our review of White Willow's Sacrament album will know of our regard for Ketil’s virtuosity. Here, again, he is wonderful, delivering a more atmospheric, less showy performance. Interestingly, there are no kit drums on the album, though a variety of percussive instruments keep time through most songs, lending a pleasing, intimate feel to the music. The album opens in broody, melancholic fashion. Strange, ambient noises and hushed voices introduce "Nights are Colder," which makes excellent use of a lower male voice singing in unison with Tirill. "Don't Dare to Love You" begins with Tirill's voice and an acoustic guitar singing a lovely, simple tune over lush keyboards and percussion, with subtle interventions from Ketil's flute. This tone continues on "Winter Roses"--familiar from the pre-release mp3s--with its delightful chorus. "June's Flowers" employs cello, guitar, flutes and lovely harmony vocals to articulate a delightful, simple arrangement. Highlight of "Dressed in Beauty" is the fragile theme played by Tirill's overdubbed violins during the vocal sections, while the songs mid-section adds an unexpected sinister note. "Heavy Heaves" again allows Ketil's breathy flute to dominate over funereal keyboards and more surreal noises, while Tirill sings a mantra-like refrain. The brooding "Vendela" is the song in which listeners will find most parallels with White Willow. Lead vocal duties are here handed over to Odd Hakon Solbakken and White Willow's Sylvia Erichsen, and the edgy backing builds to something bordering rock music for the only time on the album. The last few songs are lighter with a more traditional folk feel. Wailing flute and gentle piano introduce the quiet "Gold's of Morning," which its superbly intricate arrangement. Highlight, here, is Ketil's flute which breaks into a half-familiar folk tune as the song concludes. "It was Blue" has simpler, yet equally delightful instrumentation--light and melodic with Espen Lette's accordion to the fore. Trekkspill (an accordion-like instrument) and gypsy-style violin give "Ruby" a sensual, Eastern European feel, and the album finishes in similarly Southern European style with the playful "When you sleep" featuring the impressive bouzouki of Christos Sarakatsianos. The album also includes a hidden instrumental version of "It was Blue" (before track one) and a charming video of the same song. This is a quite stunning album, which rewards repeated plays and considerable concentration to unpick Tirill's intricate, sensitive arrangements and each song’s subtle melodies. On the other hand, as the root of each song remains Tirill's nylon-stringed guitar, it is not difficult to imagine them performed entirely solo. Lyrically, the album considers simple themes, moments of melancholy and joy, the sadness of passing seasons and remembered love. However, whether you choose to concentrate on every moment or allow the general mood of the album to wash over you, this is an exceptional album by a hugely talented musician. Buy it for those quiet, contemplative moments. Return to read our interview with Tirill planned for publication in March 2004.-- Stephen Lambe

Tirill Mohns første soloalbum er et faktum.
Hun har fortid i White Willow, og med seg herifra bringer hun sansen for det subtile, atmosfæriske, vakre og varierte. Plata rommer impulser fra klassisk musikk, pop, visesang, folkemusikk, symfo og prog. Dens fortrinn er at den vokser over tid, samt at den har en aldeles fenomenal avslutningslåt i “When you sleep”; ikke ulik Silje Viges beste spor. Personlig hadde jeg forventet mer progressivitet, men finner hennes sjarmerende uttrykk uimotståelig. Geir Larzen, Monster Magazine

This is a definite singer-songwriter album
sung in English. It’s well arranged, basically acoustically, with lots of attention to detail, with compact clear folksongpop-oriented tracks with a dreamy sensitivity, with a flavour of a warm wind and early spring (“Dressed in Beauty”), with some pastoral aspects of acoustic music (but here and there also with some real folk elements, like on “Golds of Morning”, with a fresh sound of chamber music arrangements, always sung with a slightly whispery voice and additional voice arrangements. A couple of tracks (like “It Was Blue” , Ruby”& “When you sleep”..) also have some accordion arrangements. Very good! "Psyche van het Folk"

Tirill’s album is out!
While we’re all waiting for the new WW album, here’s something to shorten the time and warm our days. Tirill has finally released her wondrously great debut album, “A Dance With The Shadows” on The Wild Places. The release party was in Oslo, and it was quite an event, with label prez Michael Piper flying in from New York and everything. For those of you who don’t know her, Tirill was part of the original White Willow line-up, playing violin and guitar and contributing to the songwriting on “Ignis Fatuus”. The last few years she has been concentrating on a solo career, and the album is the fruit of 3 years of labour - a labour of love by the sound of it. Anyone who likes the gentler sounds of early White Willow, or has a sweet tooth for mysterious, melancholy songs infused with folk and classical elements, this is the best thing you’re ever likely to hear. Forget about Loreena McKennitt - Tirill has it all! A stellar cast of musicians (including White Willow’s Ketil Einarsen and Sylvia Erichsen) and a wonderfully transparent production courtesy of engineer Øystein Vesaas - along with a beautiful booklet (photos by WW stalwart Teresa K. Aslanian) combines to make this the most moving experience of the year. Even before its release, the album was already making waves all over the world - appearantly, one of her most ardent fans is David Tibet of Current 93! Jacob Holm-Lupo

This album
is a couple of years old. It really doesn't matter. Tirill told us she only recently started to promote the album in Norway. And the music is more out of time/timeless/classic than most other albums in the pop-rock genre these days, anyway. Judging from the cover and the music, Tirill seems to be a kind of supernatural female creature from the Nordic folklore, looking like a beautiful maiden, though sway-backed and with a cow's tail, who - with her singing - tries to entice young men deeper and deeper into the woods and make them prisoners inside a mountain or a hill for the rest of their lives. In this respect, Tirill might remind of a younger sister of Kari Rueslåtten (Norwegian solo artist and ex-member of progressive metallic 3rd And The mortal). Tirill's lyrics are a bit more everyday-like, though, dealing with love lost or found, longing, trees, nature and the changing of the seasons. The music is acoustic based, some melancholic in the folk singer songwriter tradition, others more in the pop vein. A Dance With The Shadows is Tirill Mohn's first solo album. She was a member of one of Norway's finest progressive acts in recent years, White Willow. Her album includes a host of guest musicians. Quite a few of them have been involved in the fluctuating line-ups of White Willow. Tirill treats several instruments herself, including guitars, violins, flutes, keyboards and percussion. Her voice is lightweight and fragile, at times monotonous. Occasionally her singing reminds me of two of Scandinavia's most distinctive female voices, Norwegian Anneli Drecker (of Bel Canto fame) and Swedish Stina Nordenstam. The similarities are not that obvious, though. It probably has to do with some Nordic characteristics. "Golds Of Morning", the catchiest pop song of the album, suits all seasons. The rest of Tirill's melancholic and mainly calm songs are specially suited for long and dark autumn and winter nights. By now it's midsummer on the northern hemisphere and we hardly have any darkness at all up here in the far north. I guess A Dance With The Shadows will not be my first choice of albums to play for the next couple of months. However, it will surely make the eventual coming of autumn and winter easier to endure. "Luna cafe"

Already the cover artwork
of Tirill Mohn’s debut album is extraordinary: it goes hand in hand with the meaningful title, yet it’s not too accessible or in any way pretentious, it really hints at a hidden beauty which is clad in mysterious shadows. And so is the music as well: not “sensational” in any superficial regard, but with so much depth and atmosphere that you can close your eyes and easily imagine the artist sitting next to you – maybe at the fire deep in the woods – and playing her breathtakingly beautiful songs. The first eight tunes are undoubtedly the ones which embody what Tirill calls “Norwegian melancholy”. The record starts with “Nights Are Colder”, but Tirills voice is actually quite warm when she invites the listener to “come closer to the fire”. The song itself is beautifully arranged with Tirill partly whispering and Odd Håkon Solbakken singing some lines as well. It’s not a question what happens on this album, but simply how it happens – the second song “Don’t dare to love you” asts “only” two and half a minute, yet it develops a spellbinding atmosphere like only few tunes did that I heard before. All songs on “A Dance With The Shadows” are created with deep love on the one hand and with a seldom carefulness on the other. Once again: it makes not much sense to explain that Tirill plays some kind of silent folk music if that information doesn’t go along with a description of how she and her gorgeously talented guest musicians play her songs. It’s indeed shadowy music, but in the shadows the listener’s imagination might create individual stories inspired by personal remembrances and Tirill’s obviously personal and sometimes impressive naturerelated lyrics: “Dressed In Beauty” is for example a song that reflects some sceneries in such a calm manner that the listening experience is nevertheless overwhelmingly beautiful – at least for me. I lack the right words to describe the much more than fascinating character of Tirill’s music, yet I can only give you the advice to take enough time to discover the manifold beauty behind the shadows… Thor Wanzek, Sounds Under the Surface