I don’t often write about music, because I’m not very good at it.
I’m making an exception for The Bifrost Incident, partly because I don’t actually have anything else to write about, and partly because it is, of course, very good.
The Bifrost Incident is the fourth album from Oxford-based steampunk band The Mechanisms, who perform as a band of immortal space pirates swaggering their way through the universe aboard their starship Aurora.
The Mechanisms tell stories, in a mixture of spoken word and folk-rock-inflected song. Their first album, Once Upon a Time (In Space), riffs on Anglo-American fairytale; Ulysses Dies at Dawn is based on Greek mythology, rendered in noirish jazz; High Noon Over Camelot is a mashup of Arthurian legend with a spaghetti Western sound and narrative aesthetic.
The Bifrost Incident is based on Norse mythology, which I am not familiar with at all. It collides with something more modern later on, but I won’t spoil that.
The framing schtick is a little different this time around: instead of narrating the story, the Mechanisms are acting it, verbatim. The story’s narrator (voiced by the Aurora‘s definitely-first-mate Jonny d’Ville) is Inspector Second Class Leofrisyr Edda (that’s a very rough guess at spelling, by the way, and is probably wrong) of the New Midgard Transport Police, assigned to investigate the mysterious reappearance of a train, the Ratatosk Express, which disappeared eighty years ago with the entire ruling class of Asgard aboard on its maiden voyage through man-made wormhole the Bifrost.
Musically, it’s moved a little away from folk-rock into seventies prog rock: a bit Jethro Tull/Genesis, a bit Led Zeppelin, at least in the musical set-pieces between the narration, which is still counterpointed by rippling piano/violin harmony.
It works best as a piece of storytelling, though, grounding what is by the end of the album genuinely chilling cosmic horror in personal tragedy – both that of the gradually unravelling Edda and that of the doomed lovers Loki and Sigyn (both female in this rendition). The music builds tension throughout the story and then breaks it, perfectly, in “End of the Line” (which made me cry) and “Terminus” (which made me want to put Christmas music on and dance about madly to try and shake off the horror of it. But in a good way).
It’s definitely their most pessimistic album; the first three may have had downbeat endings but there was always a thread of survival, a bit of hope that life would go on. Here, the only survivors are the Mechanisms themselves, the amoral tellers of the tale. The witness-bearers, perhaps. I think there’s something interesting going on with the ways in which Bifrost plays with its various framing devices (parts of the tale are taken from the Ratatosk‘s black box as Edda tries to work out what went on aboard the train) and its multiple levels of narration (Jonny narrating Edda narrating the black box).
All of which, as usual, is a tortuous way of saying: I liked it. You should listen to it. (At least, you should on January 29th, when it’s released to non-Kickstarters.)