Dave Sleger - a freelance writer from West Allis, Wisconsin
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After experiencing personnel stability during their early Magna Carta years, 
Tempest has since undergone numerous changes in which no lineup remained untouched 
for consecutive releases. In fact, each of their three studio albums since The 
Gravel Walk (1997) featured at least two new members. The surprising result is 
that Tempest has retained an amazingly consistent sound despite the upheaval. 
Shapeshifter welcomes to the fold guitarist Ronan Carroll, bassist Mark Skowronek 
and veteran fiddler Sue Draheim. And again this band produces at an incredibly high level. 
Much of the credit goes to frontman Leif Sorbye who is able to achieve his vision of 
Tempest with a changing cast of characters, but the replacements through the years 
have always been extremely gifted musicians too, perfectly suited for Sorbye’s 
ongoing project. And it’s no small feat to routinely trade one guitarist and fiddler 
in for another when those two instruments are vital to Tempest’s sound. Draheim is 
the most noteworthy addition as she is well schooled in the traditional and folk-rock 
idiom given her experience with Richard Thompson, John Renbourn and Albion Country Band. 
In addition to being the ideal instrumentalist for this band she provides delightful 
harmony vocals as well, which are a welcome contrast to Sorbye’s rich and omnipresent 
baritone. Carroll continues the long line of exceptional guitarists that have graced 
Tempests albums beginning with Rob Wullenjohn. Of particular interest on Shapeshifter 
is Tempest’s diverse selection of traditional material from the Scottish "Tamosher" to 
the American "Old Man at the Mill" to the English "Byker Hill" to the Irish "Coalminers’" 
to the Norwegian "Fjellmannjenta." The real gem, however, is the closing track "The Cruel Brother", 
a ten-minute track that exemplifies and solidifies Tempest’s designation as premier 
Celtic prog-rockers. It’s a three-part medley comprised of "The Tempest Reel" in which 
Draheim’s harmonies sound uncannily like Maddy Prior, "Sue’s Reel," a Draheim original 
and the Irish reel "Maid of Mount Kisco."