Of all the various EPs, singles and albums that Current 93 have recorded in their near 20-year old career, ISLAND remains one of their most unique and "different" recordings. It separates itself from both the early noisy and difficult albums (1983-1986) and the second-phase, post-industrial "apocalyptic" recordings.

It features the extended keyboards and sequencers of Hilmar Orn Hilmarsson and it was recorded over a lengthy period of time, the end of the 1980s in Iceland, where Current 93 delivered some of their most unique live performances.

The opening song, "Falling" enters with tribal drumming on both speakers and a eerie melody on the keyboards. The landscape described in the lyrics of David Tibet is painted in a menacing, mystical way, almost like the music itself. His voice switches from soft singing to a threatening whisper, as if quoting some biblical description. Masterpiece!

Speaking of masterpieces, the next song, "The dream of a shadow of smoke" is my favorite Current 93 song and one of their top moments. Rarely has music been so able to make the listener lose contact with his/her surroundings and travel into distant places with imagination. The song is a keyboard- based slow anthem with narrated vocals by Tibet. In the middle, a female chorus enters and enriches the song, with the singer whispering "ashes to ashes, dust to dust" throughout the mix. Brilliant!

The "Lament for my Suzanne" is more personal and atmospheric. Not as epic as the previous two, but more sentimental and twisted. "Fields of rape (sightless return)" ends the first side with a magnificent touch of eerie, melancholic keyboards over a soft performance of Tibet, in full contradiction with the bizarre lyrics. This is a very different approach from the song off DOGS BLOOD RISING with the same theme.

"Passing horses" returns to the epic, imposing, gloomy threat of "Falling". The sequencers reign over the speakers creating a very dark, ambient yet very intense mood that haunts the listener. Over the years, this impression holds its originality and its strength.

"Anyway, people die" and "To blackened earth" are again a slight change of approach from the epic style of the previous song. More ambient, yet equally touching. Especially the latter one, with its brilliant choice of synthesizer melodies and medieval feel, is a real diamond.

The album ends under the epilog of "Oh merry go round" which introduces more instruments next to the ever-present keys of Hilmarsson. The absolute ending to such a gloomy and unique album.

The CD version of ISLAND features some bonus tracks. All of them have, more or less, the same "electronic" production with the album songs, yet the mood is not always the same. "Crowleymass unveiled" is the remixed version of the 1987 single, and is like a gothic dance club hit. The style is wholly different from ISLAND, the mood and the performance are rather "bouncy" and relaxed, aiming at something of an underground anthem.

The same goes for "The fall of Christopher Robin" which often enters the setlist in goth clubs. The lyrics speak of a character that makes a pact with the devil but is deceived and drawn down to hell. However, it is not as "bleak" in its delivery. "Paperback honey" which precedes "The fall of Christopher robin" is in some aspects a pop-jazz tune, and the most "commercial" recording of the band. Not much to write about.

The last two bonus tracks mark a return to the anguish and sorrow of ISLAND. They are actually "reprises" of song featured in the album. "Fields of rape and smoke" differs from the album version in the fact that it is sung in Icelandic (!) which makes it an interesting listening experience. "Oh merry go round and round" is a music-only approach of the album version with a rich sound and nice arrangements.

ISLAND has an atmosphere that not many albums can achieve. Its strength lies in the fantastic work of Hilmar Orn Hilmarsson and the excellent composing and performing shape of the "usual suspect": his talent for images and words of great emotional power is everywhere throughout the album songs. Excellent compositions, shivering results.

Concerning the bonus tracks, the two "reprises" are good and continue with the album mood. The others are more different, but still they have a lot to offer: hinting at a lighter side of Current 93, and one that can find its place fairly enough in a gothic club. I would only keep a distance from "Paperback honey" which cannot touch me at all. But apart from that, everything else works great.

The ISLAND effort would have no "sequel". Tibet would carry on with nefolk recordings, pursuing the ambitious "inmost night" trilogy in the mid 90s. As a style of its own and a magnificent album, ISLAND is a mandatory part of every album collection.