The Rock Blogger

Empyrium. Weiland. 2002. 4.5 stars.

This was the last, and probably most rewarding, album from Germany’s Empyrium. Their unique neofolk sound remains intact for their final outing, with greater emphasis on atmosphere and dramatic vocal delivery. The haunting German chants, acoustic interludes, piano keys and swelling strings work together in fluid, transcendent compositions, underpinned by swift, subtle drumming. The occasional flute, horn and brass accompaniment is also welcomed and lends many of these songs a certain grandiosity.

Weiland’s sound is full of mystery, nostalgia and catharsis, as delicate guitar passages lead out into orchestral climaxes and back again, laying out emotional processions into the wild unknown. The use of baroque choir-like harmonies (use again recalling the early work of Ulver) is chillingly effective, moving Empyrium closer to their neoclassical aspirations.

Weiland comes across as an almost ancient experience, whether through raspy whispers or a bellowing tenor, evoking some lost connection to a natural spirit. Empyrium’s project is instrumentally complex and riveting and manages to stake its territory at the forefront of the neofolk genre. While their sound is dark and moody, Empyrium manages to play a stable balancing act between delicacy and aggressive release. There may not be any clear standouts on this disc to return to casually, as everything blends together in a cohesive form, demanding full, meditative attention. The power and beauty of this album is well worth the time still. This is evening music with intense, contemplative energy and showcases Empryium at the height of their creative powers.

Empyrium - Die Schwäne Im Schilf

The Tallest Man on Earth. Shallow Grave. 2008. 4.5 stars.

Sweden’s Kristian Matsson is The Tallest Man on Earth, a finger-picking virtuoso who plays inspired Dylan-esque folk songs. Matsson’s unique, crackling voice, lyrical imagery and complex guitar work puts him head and shoulders above the genre’s current mainstays, delving into a nostalgic and timeless sound. The songs here convey a feeling of weather-beaten discovery, where runaways and wanderers trace highways and open plains.

Accompanied solely his acoustic guitar, Matsson bellows out his serpentine verses with great passion, especially on highlights “I Won’t be Found” and “Where Do My Bluebirds Fly?”. The sparse yet intimate musicianship reinforces this album’s singular vision, drawing you into a darting stream of consciousness. Fans of Dylan, Will Oldham and Neutral Milk Hotel should take note of this release, as it seems to possess that strange magical quality that hides within eccentric, wonder-struck personalities. What The Tallest Man on Earth lacks in originality, he makes up with spirit, leading you into welcoming pastoral landscapes.

The Tallest Man on Earth - It will follow the rain (Live)

Grouper . Dragging a Dead Deer Up a Hill . 2008. 4 stars .

As soon as you get past the disturbing cover art and awkward title, you’ll find that Grouper’s latest album is a stunning gem, with some of the most soothing vocal harmonies you’ll hear this year. Centered on the soft, calming performance of Elizabeth Harris, Grouper’s melodies seem to defy gravity, floating over dark reverb and ambient loops. The vocal tracks are kept distant in the mix, sounding like an ethereal spirit, while gliding drones and gentle acoustic guitars move dreamily along.

While the lyrics remain cryptic under the hazy instrumentation, there is a strong feeling a peace throughout these songs, moving you into a deep and relaxed psychedelic state. The psych-folk aesthetic here is presented with serene clarity that shines through the album’s entirety, making this a unified experience rather than a collection of distinctive songs. Certainly there is a sense of sameness that runs through Dragging a Dead Deer , but its general lack of variety mostly reinforces the pleasant, hypnotic tones being developed here, immersing you in their warm glow. For its delicacy and meditative power, Grouper’s work here stands among 2008’s greatest surprises and will be sure to please fans of post-rock acts like Gregor Samsa and My Bloody Valentine. Recommended.

My Morning Jacket . Evil Urges . 2008. 3.5 stars .

MMJ’s Evil Urges gracefully picks up were 2005’s Z left off, bringing together eclectic styles and influences into a festive and confident whole. Just as Z pushed MMJ’s sound from folksy, rustic indie rock to full-bodied arena-rock jams, their latest offering continues their evolution towards orchestral pop and funk, with many oddball dynamics thrown in. While purists may initially be caught off guard by the gauzy and free-wheeling nature of these 14 songs, repeated listens uncover the great variety and brave experimentation within, making this a work that grows on you over time.

The first thing many listeners will probably notice is Jim James’ uncanny falsetto on some of these tracks, most notably "Evil Urges" and "Highly Suspicious", used to full histrionic effect. The wails, coos and laughs give these songs a very strange, theatrical air, reminding me of some early Micheal Jackson songs, which can be either excellent or terrible depending on your tastes. These funk-inspired moments, while entertaining, seem out of place among MMJ’s previous output, and place emphasis on performance rather than tight song craft.

Luckily, there is some more familiar ground to be tread on here, including the infectious "I’m Amazed" where James’ stunning voice returns to room-shaking form. Other highlights include the groovy, bass driven "Touch Me I’m going to Scream Pt. 1" and the operatic "Librarian" which describes the hidden beauty of a bookish woman in the same lovelorn fashion as the late great Roy Orbison. MMJ’s genre-blending throwbacks are executed with great success, carrying the same stadium-filling grandeur possessed by many 70s era rock acts, but rarely seen in our contemporary (and highly disposable) music culture. While Evil Urges may make an awkward first impression, being an amalgamation of disparate pop and rock elements, it still provides some uplifting moments when given time to reveal itself. Despite my preference for their gritter and more straightforward material (ie. their unbelievable Acoustic Citsuoca EP), Evil Urges is still a refreshing listen that is amplified even further when placed within the context of the band’s continuous progression.

I’m Amazed

Fleet Foxes . Ragged Wood . 2008. Sub Pop. 5 stars .

Seattle’s Fleet Foxes offer a beautiful slice of Americana with their debut album, playing warm psychedelic folk songs full of glorious harmonies and earnest songwriting. While there may be some immediate comparisons to contemporaries My Morning Jacket and Band of Horses, Fleet Foxes expands on the rural sound with a more open and optimistic approach, crafting something that truly has an air of timelessness.

These songs are full, lush and exquisitely executed, centered on gracefully finger-picked guitars and Robin Pecknold’s stunning falsetto which is often supported by soothing harmonization from his band mates. The incorporation of banjos, pianos, flutes and even the mellotron also add to the sweeping drive of this record. Its not grand, epic or pretentious, but rather inviting and melodic, as these progressive elements help illuminate the sunny imagery conjured up by the serene vocals.

While I could go into detail describing each of these 11 excellent songs, I wouldn’t want to spoil any of the pleasant surprises within. I can tell you that this is as comforting as indie rock gets, and its natural-sounding rhythms are sincere and vigorous. This will easily be remembered as one of this summer’s most engaging albums, rivalling Panda Bear’s Person Pitch (2007) as one of the sunniest psychedelic works to grace this decade. Listen, Absorb, Explore.

Sun Kil Moon. Tiny Cities . 2005. 4 stars .

After being floored by Sun Kil Moon’s latest album April , I was compelled to uncover more gems from Mark Kozelek’s career, finding this impressive collection of Modest Mouse covers. That’s right, Tiny Cities is entirely a covers album dedicated to the Midwest’s indie heroes, and Kozelek successfully takes their soul-searching songs and makes them his own.

At first, I approached this album with caution, questioning the wisdom of doing a covers album, despite already being a fan of Modest Mouse. To my pleasant surprise, Kozelek’s reinterpretations are both radically different from their source material without betraying the intelligence and insight of Isaac Brock’s lyrics. Kozelek turns away from Brock’s wild and often maniacal performance and instead plays his narratives through resigned acoustic passages. When filtered through the warm gauze of Kozelek’s voice, the gentle spirit of Modest Mouse is revealed with greater clarity, calling greater attention to the folksy demeanor and dusty memories that had once been hidden within.

With this approach, the more raw Mouse tunes, like "Tiny Cities Made of Ashes" and "Convenient Parking" are streamlined into short, beautiful displays of melancholy. Kolezek’s use of symphonic production also highlights the epic tones contained within "Space Travel is Boring", using Brock’s material to find darker pools of longing.

Tiny Cities , in short, is a fitting tribute to one of indie rock’s greatest acts, extending the lyrical majesty that has made them so significant. Even for those who have no knowledge of Modest Mouse’s material, this is a stunning example of Kozelek’s unique singing style and soothing instrumental work.

Bonnie ‘Prince’ Billy . Lie Down in the Light . 2008. 4 stars .

While the indie-rock world may be saturated with countless Fiest/Arcade Fire/Interpol clones, you can always depend on prolific veterans like Will Oldham to breathe some much needed life into your local record store. With so many LPs, EPs and singles under his belt, credited to his many aliases, Oldham has established himself as a masterful songwriter, performing gritty and heartfelt tunes that transgress genres and styles.

Read More »

Sun Kil Moon. April. 2008. 5 stars.

In a perfect world, Sun Kil Moon’s Mark Kozelek would be just as well known as Neil Young and Eddie Vedder, capturing the imagination of the rock world with his chilling baritone voice and remarkably descriptive songwriting. Until that happens, Kozelek will remain an unsung icon of the indie universe, as he produces heartbreakingly beautiful folk-rock masterpieces like April, an early contender for album of the year. With Sun Kil Moon, Kozelek has lived up to and extended the legacy he built for himself with the shoegaze/rock band Red House Painters in the 90s, further developing the slow, brooding sound that once made them so endearing.

In April, Kozelek remains in a deeply reflective mood, drawing the listener into his dark pools of memory, vividly illustrating scenes of dusty city streets, night skies and small towns where love had once blossomed. While I won’t go into too much detail here about the lyrics, as my descriptions can’t possibly capture the alluring spirit that hides within them, but I can tell you that they are indeed moving and will be sure to stir romantic visions of long lost muses, moments and longings.

The pleasant sounds that wrap around these tales are slow and soothing, with gentle acoustic guitar work moving most of these songs into haunted personal spaces. The structures themselves may seem simple from the first listen, fitting within comfortable folk conventions, but they slowly unfurl into dynamic and rollicking jams complete with warm electric riffs and entrancing rhythms. On tracks like “Moorestown”, you can hear more elaborate elements being introduced, like strings and accompanying vocals, fleshing out the cathartic drives within the songwriting. The result is immediately effective, luring you into the band’s perfectly nostalgic and stoned daze.

While individual songs feature little variation between guitar patterns and pacing, they serve as a calm backdrop for Kolezek’s stirring vocals. While they remain deep and sad, almost droning on like another instrument, they rise up at just the right moments to showcase the man’s undeniable passion for his craft and lyrical content. You feel as if his entire life is here, encased within these 11 tracks.

While some may take issue with the extended length of these songs, as several of them stretch over 7 minutes, I believe these moments require the time to carefully reveal themselves, fully immersing you into Kolezek’s melancholic state. Its actually quite amazing to hear just how effortlessly these songs become full fledged epics, without delving in exaggerated progressions or symphonic excess. Aspiring songwriters should take note of Sun Kil Moon’s balance of restraint and release as they push their meditative sound to surprising heights with brevity.

While I could get personal here and explain how April stirs my emotions, and try to describe the distant images it carefully sears into my brain, I feel embellishing here will only distract you from forming your own impressions as you hear Kolezek’s graceful narratives. If you are searching for an album to connect with, to explore over time and to dream to, April is as honest and comforting as they come.

Empyrium. Where at Night the Wood Grouse Plays . 1999. 4 stars .

Germany’s now defunct Empyrium have crafted a gorgeous neofolk album in the same vein as Ulver’s Kveldssanger, complete with classically inspired acoustic melodies and haunting, Gregorian inspired vocals. While albums embracing acoustic instrumentals and forest imagery are becoming increasingly common in underground music circles, Where at Night is so succinct and convincing in its vision that its beauty is hard to match.

The sound created by the soft guitar arpeggios is sweeping and majestic, making songs like "A Pastoral Theme" and "Abendrot" deep and relaxing exercises. Most of the album is instrumental with the exception of a few tracks like "Many Moons Ago" and "Where Shadows Grow Longer" where the deep, almost religious sounding chants weave narratives of mystical forests and enchanted encounters with their inhabitants. The result of pairing almost ancient dynamics with acoustic songwriting is almost unnervingly successful, as these graceful tones will send chills down your spine.

For a twilight journey into the heart of the wilderness, Empyrium is the guide of choice, as they create a rich atmosphere that rivals the darkest black metal records without the brutal musicianship. The only downside to Where at Night is that its far too short, clocking in at around 30 minutes. Just as the melodies are sucking you in, the experience fades off. The sun rose a little too early I suppose. Despite its short duration, Empyrium’s opus remains a masterpiece of refined instrumentation.

October Falls is the project of Finland’s Mikko Lehto, who creates haunting acoustic folk songs reminiscent of Ulver’s black metal trilogy. While the guitar melodies, accompanied by delicate piano and martial drumming, are stunningly beautiful, they also convey a dark woodland atmosphere, as this video reveals. Despite looking like something I would have made in my second year of Film School, this clip really captures the mood of October Falls’ excellent album Marras (2005). It’s easily one of the most impressive neo-folk albums I’ve come across.