Off the Beaten Track #8: Moonflower by Blackbriar featuring Marjana Semkina

Cover of Moonflower by Blackbriar featuring Marjana Semkina
Cover of Moonflower by Blackbriar featuring Marjana Semkina

According to the Collins English Dictionary, a moonflower is:

any of several night-blooming convolvulaceous plants, especially the white- flowered Calonyction (or Ipomoea) aculeatum.

Two moonflowers, also known as Ipomoea alba
Two moonflowers, copyright Ed! (Photography). Source – Wikimedia Commons

But the new single from the Dutch gothic metal band Blackbriar (featuring singer songwriter Marjana Semkina who is also a member of iamthemorning), uses the moonflower not in its literal sense but in its poetic sense, associated with mystery and romantic love,

‘Beautiful moonflower/Wandering under the night sky…Mystical sleepwalker…’

Moonflower by Blackbriar, with Zora Cock and Marjana Semkina

Zora Cock, Blackfriar’s vocalist, quoted by Ghost Cult magazine, says this about the new single,

‘Moonflower’ tells a love story between a female vampire and a mortal girl and transports you to a bygone era where darkness and desire intertwine. It’s inspired by the 19th-century gothic novel Carmilla, a timeless story that predates even the infamous Dracula.

Carmilla, by the Irish author Sheridan Le Fanu, was published in 1872, and Bram Stoker (also Irish) published Dracula 25 years later in 1897. Le Fanu’s novella is narrated by Laura, 19 years old at the time of the story, who lives in a schloss (‘castle’) in Styria, Austria with her father. Carmilla appears at the schloss following a carriage accident as a teenager who is the same age as Laura. In fact [spoiler alert] Carmilla, also known as Countess Mircalla, died 150 years before the events of the story and became a vampire, preying on young women such as Laura and Bertha. The latter is the niece of General Spielsdorf, who tells Bertha’s story to Laura and her father to their increasing horror. Le Fanu’s story is notable for creating the prototype of the lesbian vampire. The novella gradually and subtly introduces the themes of lesbianism and vampirism, so that we share Laura’s creeping realisation of Carmilla’s true nature.

When Laura is six, a ‘very pretty young lady’ appears at the side of her bed, caressing her back to sleep until she is awoken by the sensation of ‘two needles running into my breast very deep at the same moment’. The needles don’t leave any physical marks, although Laura is haunted by the incident. Much later in the novel, a minor character remarks that Carmilla, ‘has the sharpest tooth…like a needle.’ When Carmilla arrives at the schloss, now in her late teens, the two young women realise that they first met 12 years earlier – Carmilla says she saw Laura ‘in a dream’, but Laura is unsure whether it was a dream or reality, ‘Twelve years ago, in a vision or reality, I certainly saw you. I could not forget your face.’

The two young women quickly become fast friends, but there is an undercurrent of fear and disgust in the way Laura views Carmilla, perhaps sensing Carmilla’s true nature, ‘I did feel drawn towards her, but there was something of repulsion…however, the sense of attraction immensely prevailed…she was so beautiful and so indescribably engaging.’ As the story progresses, it appears that Carmilla is beginning to treat Laura more as a lover than a friend,

‘…my strange and beautiful companion would take my hand and hold it with a fond pressure, renewed again and again; blushing softly, gazing in my face with languid and burning eyes, and breathing so fast that her dress rose and fell with the tumultuous respiration. It was like the ardour of a lover; it embarrassed me…’

But beneath Carmilla’s ardent and attractive exterior, there’s a much darker creature, as described by Bertha’s uncle,

‘…I saw a large black object, very ill-defined, crawl…over the foot of the bed, and swiftly spread itself up to the poor girl’s throat, where it swelled, in a moment, into a great palpitating mass.’

An image By David Henry Friston for Carmilla (1872) by Sheridan Le Fanu
An image by David Henry Friston from Carmilla, originally serialised in The Dark Blue magazine in 1871-72

The video for the Moonflower single concentrates on the early part of the relationship between Laura and Carmilla, although neither character is named. It was filmed at a schloss that evokes the setting of Carmilla, Dussen Castle in the Netherlands. Cock plays Laura, and Semkina plays the sleepwalking Carmilla, (the ‘mystical sleepwalker’ in the song). References to vampirism include a little blood trickling down from the side of Carmilla’s mouth, and her kissing Laura on the neck. The lesbian inferences are relatively subtle, as they are in the original book.

In the lyrics to the song, there are other specific references to the book, including the shared ‘childhood dream’ of the two protagonists. The words ‘ardour of a lover’ are taken directly from the book, from the passage quoted above. Carmilla whispering in Laura’s ear relates to Carmilla’s ‘murmured words [which] sounded like a lullaby in my ear’,

‘With the ardour of a lover/You whisper in my ear’

Carmilla is also seen walking in the moonlight in the book, ‘how beautiful she looked in the moonlight.’ And Laura’s father is convinced that Carmilla sleepwalks at night. The song adds dark humour to the possibility of vampirism, ‘I promise I won’t bite.’ And vampirism and lesbianism are combined in the suggestion that ‘you could lay in my garden forever.’ This combines the fact that vampires are immortal with the sexual imagery of a garden that dates back to temptation in the Garden of Eden and the Biblical Song of Songs, ‘Let my beloved come into his garden/And eat its choicest fruits.’ (Song of Solomon 4:16)

Musically, the single is a perfect match for the video and the book. The two women’s voices are similar, but subtly different, suggesting the close relationship between the two young women in the book. Instrumentally, the song has the same compelling mix of heavy metal riffs and symphonic rock, combined with strong vocal melodies, which made last year’s Blackbriar album A Dark Euphony so compelling. Moonflower can be streamed as an individual track, but physical copies include two extra tracks – a powerful instrumental version and a gorgeous a cappella version in which the two voices, drenched in echo, sound beautiful together.

Moonflower is out now. Blackbriar tour North America with Black Beast in May and early June 2024 and will be supporting Kamelot on their European tour in October. They then tour the UK in November 2024, playing in Wolverhampton (1st) London (2nd) and Manchester (3rd). Marjana Semkina’s second solo album Sirin is out on 31 May 2024.

Disillusioned by Marjana Semkina – EP Review

Haunting new EP from an exceptional talent

*****

Marana Semkina (also known as Marjana Semkina), the vocalist from iamthemorning (her duo with pianist Gleb Kolyadin) released her debut solo album Sleepwalking last year. Previously based in St Petersburg, she now lives in England but unlike many artists she felt unable to take advantage of Covid restrictions to write new material, ‘I flew to Russia for a week and got stuck there when borders shut for half a year due to lockdown’. She describes how the depression she suffered as a result of feeling trapped only lifted on her return to England, where she was able to start writing again. The result is her new solo EP, Disillusioned, with three new songs and two traditional folk songs from Hungary and Iceland.

The opening track Friend has a sound world that is a departure from Mariana’s previous work. It begins with disturbing electronic drones and frenetic strings, with phased drums that contrast with the fragile vocals. The evocative video suggests that the protagonist of the song has lost her ‘only friend’. She drags her friend’s body through the woods, and when the music suddenly drops out there is an ethereal, distant wordless melody as she starts to bury him. A chillingly melodramatic and profoundly beautiful start to the EP, thematically it continues Mariana’s preoccupation with death, describing herself on Twitter as a ‘dead Victorian girl’.

Ne Hagyj Itt is the first of two tracks on the EP which reflect Mariana’s love of different languages and cultures. She says, ‘There is a Czech proverb that says “learn a new language and get a new soul”, and I certainly feel this way’. The song was written by the Hungarian composer Béla Bartók and published in 1935 as part of his 27 Two and Three Part Choruses based on traditional Hungarian folk songs. The title means ‘Don’t leave me here’, and the words describe the protagonist’s plea to the addressee to reveal the road she is taking so that he can plough it with a golden plough, sow the land with pearls and water it with tears. Mariana’s gorgeous, yearning multi-tracked vocals and beautiful harmonies sit on a bed of subtle electronics.

The title song Disillusioned refers partly to Mariana’s disillusionment with the music industry which has led her to release this EP herself via the bandcamp website. She says ‘having full control over your creations is quite precious and beautiful’. The song is superbly arranged, with warm strings and a gentle electronic wash bringing a bittersweet quality to Mariana’s subtle but heartfelt anguish.

Land Míns Föður is the second song on the EP to feature another language and culture. As Mariana says, ‘each language is special and works differently and beautifully with music’. This Icelandic folk song is a patriotic and imaginative celebration of the land of the poet’s father. The melancholy yearning of the song is captured in the multi-tracked vocals, drenched in echo. At only 90 seconds long, this is a little gem.

With a bass line that provides a gently-beating heart An End provides an uplifting end to the EP, moving from introspection to an epic chorus. The song concludes with an unresolved chord that fades into nothingness, perhaps casting doubt on the hope that it had raised. Throughout the EP, Mariana’s songwriter and abilities as an arranger show an even greater depth of maturity than on previous releases. Her voice continues to develop and grow, ranging from crystalline beauty to a more robust tone when required. The addition of electronics makes the sound world even richer and more evocative than before, creating a haunting listen from an exceptional talent.

Personnel

Marjana Semkina – vocals, backing vocals, lyrics

Vlad Avy – guitar
Grigoriy Losenkov – piano, keyboards, bass guitar
Svetlana Shumkova – drums, percussion

String Quartet:
1st Violin Semen Promoe
2nd Violin Marina Ryabova
Viola Alexander Shtabkin
Cello Anatoli Vorontsov