Dreamchild | La Fee Verte

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La Fee Verte

by Dreamchild

A soundtrack to absinthe-tinged dreams & nightmares, filled with ethereal yet dark & disturbing vocals, richly textured guitar soundscapes and otherworldly wire-strung harp.
Genre: Rock: Goth
Release Date: 

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  Song Share Time Download
1. The Stolen Child
0:32 album only
2. La Fee Verte
4:20 album only
3. Capacocha
1:58 album only
4. Nimue
6:22 album only
5. Do Bats Eat Cats?
1:53 album only
6. Leanan-Sidhe
6:05 album only
7. Pandora's Music Box
1:56 album only
8. Your Eyes
6:24 album only
9. Cry Baby Cry (Can You Take Me Back)
4:12 album only
10. Nijinsky's Descent
3:43 album only
11. Procession
2:19 album only
12. The Blade
5:21 album only
13. As It Came
2:07 album only
14. Requiem
2:55 album only
15. In the Night
7:55 album only


Album Notes
"La Fee Verte" is the long-awaited follow-up to the band's critically acclaimed debut CD, "Gates to the Sea".

Here are some reviews of their first cd:

"Gates to the Sea by Dreamchild is...deeply affecting. The Ghost of Dead Can Dance is summoned up. Cheryl Wanner's keenings, laughter and odd intonations place her alongside Diamanda Galas as a vocal idiosyncratic. She's complemented perfectly by Frank Gerace's Frippian guitar. Intuitive music-making of a high order." - Joe Cushley, Mojo Magazine

"I was really surprised by this album; snap-judging from the cover art and liner photos, I was expecting neo-Renaissance sweet stuff. Though occasionally effusive, but certainly not "sweet" per se, I would dare use the term "neo-Renaissance" to remark on only a couple tracks here.

Dreamchild is actually quite psychedelic, occasionally exotic and darkly experimental. Cheryl Wanner's vocals are the central aspect of the music, often powerful and raw with emotion (e.g. Seahorses and Steel Tomb), but they also emerge gentle and light (Murias 1 & 2 and Sirens' Song).

In addition to her talents as a singer, you'll also hear Wanner growl, scream and laugh at points on Gates to the Sea, dramatically enhancing the lyrics or music itself - thankfully, enough to do so without taking it over the proverbial top.

Her voice is complemented by the eerie drones and jangling harmonies of Frank Gerace's guitars.

Throughout the album, both members take up other instruments as well, including harp, rainstick and a variety of percussion. Gates to the Sea proves considerable creativity on the part of Dreamchild. I don't even know who I could compare them to for reference, but that should be considered a positive comment." - Lara Haynes, Outburn Magazine

And the reviews are in for La Fee Verte:
From the beautiful Belle Epoch inspired magazine, The Sentimentalist, Vol. II, Issue VI:

"A bit of fairy dust strewn over turn of the century paths. This duo recalls certain works of Miranda Sex Garden, though Dreamchild only showcases the vocals of one singer, Cheryl Wanner, often ascending from the lowest depths to uncharted ethereal planes. With an obvious nod to fin de siecle poetry and culture, this band revels in absinthe-soaked atmosphere and minimalist, dreamy writing. With an emphasis on lyricism, the music acts as a backdrop to the delicate vocals. Frank Gerace's guitar playing never overpowers the vocals; instead, it takes on the aspect of an added harmonic layer. The guitars are subtle and moody, with some electronics added in for a curious foray into fairyland. The vocals, guitar, and the light strains of a wire-strung harp, glimmering in the distance, play off one another, conjuring a dark folk effect. The final track, "In The Night", is a meandering testimony to an indolent inebriation of spirit. With its clever interplay of dark and light dream based themes throughout, this CD may be a perfect accompaniment to reading Lewis Carroll's Alice in Wonderland." - Maria Antigone Doiranlis & Cleo

This review is from issue (#15) of Outburn, their 5th Anniversary Issue:

" Psychedelic Goth Neo Folk: Dreamchild is charmingly anachronistic, peculiarly idiosyncratic, and genuinely creative. On this, their second full length album, members Frank Gerace (guitars) and Cheryl Wanner (vocals, bass, wire-strung harp) once again successfully juxtapose elements from psychedelic rock, goth and neo-folk to achieve unique and often deeply beautiful results. Lyrically, Dreamchild's inspirations are primarily based in historical romanticism - from the lure of absinthe to the horror of an executioner's blade, to the fables of ancient Greek and Celtic mythology. Wanner's vocals are strongest when they are in her haunting, sensually low range. Her voice is emotionally evocative, especially when narrating the plight of an Arthurian sorceress ("Nimue") or describing the thrill of evening's twilight ("In The Night"). Clearly fearless experimentalists, Dreamchild pushes past boundaries of expectation in more than one direction. Some whimsical musical measures include a spoken word track in tribute to mad dancer Nijinsky, and a nearly a capella version of "Cry, Baby, Cry", featuring several layers of Wanner's voice in harmony over an eerie soundscape. Overall, La Fee Verte is an enjoyable and engaging album. I am truly delighted that Dreamchild upholds the creative precedent they set with their debut Gates To The Sea" - Lara Haynes

Music Extreme #7 The virtual magazine of extreme music (based in Argentina)

DREAMCHILD - LA FÉE VERTE (Independent - 2000): An a capella female voice opens this record with a short song called "The Stolen Child" that takes us to the spectacular "La Fée Verte" with Cheryl Wanner´s voice getting into each space of your soul, thanks to her power of expression. Dreamchild is a duo formed by Cheryl on vocals, harp, bass and kalimba and, Frank Gerace on guitars. The result is an introspective work with a permanent search for climatic textures. Through all the songs we can see the combination of instrumentation and the different states of mind that the songs transmit, ("Capacocha" for example transmits to me something like desolation, while "Nimue" is a more dynamic song with some percussive touches). Dreamchild is a really creative outfit with a music that we can describe as céltic/experimental/ambient something original!!! The distinctive element are Cheryl´s vocals full of inflexions (to give you an idea is like a mix between Lisa Gerrard (Dead Can Dance), Björk and Francesca Nicoli (Ataraxia). I hope to listen more from this duo in the future because they caught my attention from the beginning to the end of this CD. This is for those who search originality (they also include a Beatles, "Cry baby Cry").
Favorite tracks: All - Federico Marongiu. www.musicextreme.com

Metronome Magazine, the May 2001 issue:

"Dreamchild designers Cheryl Wanner and Frank Gerace have created a modern day baroque-like opera on their new release La Fee Verte. Filled with opulent musical sounds, chiming effects and an eerie moodiness, Wanner and Gerace make for a very interesting, albeit it diverse, listening experience.
The duo is quite adept at composing such arrangements, as fourteen of the fifteen cuts were penned by the duo with the lone Lennon/McCartney song "Cry, Baby, Cry" being the only hint of outside influence. Even there, you most likely won't recognize it after Wanner and Gerace get through with their transformation of the song.
Definitely original and completely distinct, La Fee Verte is an album that must be experienced first hand to be appreciated." - Douglas Sloan

Soundcheck, April 2001

Dreamchild’s album, La Fee Verte, produces an ethereal potion swimming with sinister poetry and eccentric sounds. The dark, sinuous guitar, wire-strung harp, and kalimba create a feeling of timelessness. The experimental nature of Dreamchild renders an album of mystique and instinct. Not fitting neatly under a particular genre, critics tend to liken Dreamchild to the sounds of Dead Can Dance. I sense the similarity between the bands more by the idea than by the sound. A good time to listen to this album is when it’s bleak outside and you’re in a somber mood. I enjoyed the instruments more so than the vocals.
– Lora Cecca Lyons

The Noise, March 2001
La Fee Verte, the 2000 release by Dreamchild, almost lost me at track #1, but really takes on a life of its own as you listen on. Dreamchild is a duo: Cheryl Wanner on vocals, wire-strung harp, bass and kalimba and Frank Gerace on VG8 and acoustic guitars. They meld the past with the future with their brand of gothic, medieval trance. It's darkly hypnotic and nightmarish at times, and so atmospheric. The songs are lightly dreamy and then they pull you back to reality, becoming primal and tribal, laced with new age and high-tech sounds throughout, definitely stylish, innovative and very brave. Track #4, Nimue, is layered with edgy guitar beneath Wanner's elegantly Baroque, sometimes growling vocals. Sounds are recorded backwards, then looped to create a stunning landscape. Wanner invokes elements from Poe to Shelley, along with her own writing, and while most is sung, some is Exorcist-type spoken word, far-off cries and whale-like sounds. Her lyrics are heavy: "Now I know you wish me gone/I have but a slender neck, and shall not see a new dawn/the blade is sharp..."
Dreamchild writes music that is boundless. - Jami Renee Farrah,

Spirit of Change Magazine (January/February 2001 issue) in Music Reviews by Ming Yuan:
"Come, embrace La Fee Verte, she's everywhere, glowing in the glass., if you dare" So begins the follow up to the highly acclaimed Gates To The Sea CD. Echoes of Taliesin and Poe seem to channel through the silky, siren-like vocals and pleasantly eerie bass and wire strung harp of Cheryl Wanner. Complementing Ms. Wanner is the tone sculptoring (sic) guitar playing of Frank Gerace. Together they are reminiscent of Dead Can Dance, but only for comparison's sake, as especially with this new release Dreamchild stands alone, and a cut above their predecessors. Scott Chesley of Northeast Performer adroitly states that Dreamchild "is so well constructed and alluring that the music commands with ease the space it occupies, hypnotically spinningæ a ghostly ambiance that bleeds and breathes'. Fragments of our own dreams and nightmares seem to flit like a firefly from the conjured scenes, called forth by sound to our own daydreams, hopes, fears. That major radio stations of the Northeast and beyond present live performances and airplay is no surprise. No need to spin the dial if you have a copy of La Fee Verte; it just may take you where you've never been before - except in dreams"

LET IT ROCK - DME Music Site (Israel)

DREAMCHILD -La Fee Verte 2000
From E.A. Poe on their first album duo of Cheryl Wanner and Frank Gerace moved now to William Yeats themes which means that the band's music became less gloomy. Yeats verses sung in a short intro "The Stolen Child" perfectly set the mood for "La Fee Verte", very exquisite in its sparse easiness, Cheryl's voice sounds higher than before and in places reminds Michael Dunford's RENAISSANCE, the Haslam-less one. Ethereal effect comes more clear with ghostly guitar lines. Wordless vocalization surrounded by crystal sonic dew of "Capacocha" prefaces bodhran-adorned "Nimue" -
here's melody elusive yet at this point the line "absinthe tinted dreams" off "La Fee Verte" springs to mind because both the song and the album taste exactly like this. Incidental ballet music is "Nijinsky's Descent" - just a few freaks remember now the great dancer initially put in rock context by Marc Bolan. Both are long gone - isn't "Procession" a funeral? - but not forgotten. "The Blade" cuts slowly yet deep taking you away - "In The Night". Curtain's down."Lenan-Sidhe" bears Cheryl's double vocals, voice in low octave weaves some mantra behind high tones and that hypnotizes before "Pandora's Music Box" gets opened - through soaring paean "Your Eyes" - to release a child's nightmare of Lennon's "Cry Baby Cry". What a trick having a go not at the song as such but at that bit "Can You Take Me Back" in the beginning! DREAMCHILD shapes it somewhat surreal to match their lyrics that tend towards a real poetry and succeed, intertwining with classic allusions in short sketches like "Do Bats Eat Cats?" Carroll-esque quirky humour is a clue to many little doors on this progressive-gothic suite. So who's next - Blake, Keats or?..
****Dmitry M. Epstein



to write a review

Krista Lilith

A Haunting and Beautiful CD
This is overall a very wonderful CD. It is haunting and dark at times, but in a beautiful way. Other reviews I had read about this album/band led me to believe it might be overwhelmingly dark, but this is indeed not the case. This CD has quickly become one of my new favorites.


Dark enchantment.
Delicately plucked harp, ominous bass drones and the ghostly echo of a guitar, all of this entwined with Wanner's staggering and startlingly emotive vocals. At times she is akin to Grace Slick possessed of a thousand demons and she imbues every song with a kind of operatic intensity. Part Celtic folk, part dark-wave and part psychedelia. This is not easy-listening mood music, you will never hear this piping out of the speakers of a dentist's waiting room. This album is like taking a deep bite of one of those apples from that old hallowe'en myth - sweet and delicious but you just know that there's a razorblade concealed in there somewhere. It recalls the earliest of fairy-tales - the ones that while utterly evocative are also bloody and haunting. There is magic here, but it carries with it a darkness that makes it all the more compelling.
Now if only I can get my hands on "Gates to the Sea"...