The Rock Blogger

Nick Cave & Current 93 - “Patripassian”

From: All the Pretty Little Horses 1993

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

Tenhi . Maaäet . 2006. 5 stars .

Tenhi’s serene, neofolk compositions are so heartbreakingly beautiful, I feel guilty not having heard this record since it came out two years ago. I have been missing out on one of the most superbly executed works not only in the dark, neoclassical genre, but in all underground music scenes together. With strings, acoustic guitars, delicate piano keys and haunting baritone vocals, Tenhi produce one of the deepest musical experiences since Godspeed You Black Emperor redefined progressive music at the beginning of the decade. This album, while still sporting Finnish vocals I can’t decipher, still has universally powerful elements to make it a modern masterpiece.

Everyone of these 12 songs features moments of incredible emotional clarity, whether its in the stirring swells of cello, the gently plucked acoustic guitars or the mysterious chanting vocals hovering in the background, Tenhi color their work with subtle mastery, luring you into different shades of contemplation and release. There are many breathtaking parts to take in, like the glorious piano-driven crescendo of Vähäinen violetissa or the mournful, full-bodied string opening of Kuoppa, where you’ll taken back by the stunning and almost operatic lifts in mood and tension.

While Tenhi’s aesthetics are highly influenced by folk and classical traditions, the level of sophistication and emotionality rivals the greatest post-rock acts, diving into a unique and enveloping atmosphere with the same abandon as early Sigur Ros or Ulver’s highly influential Kveldssanger. It may take several listens to really get to into the album’s twilight atmosphere, but the journey is undoubtedly a rewarding one, as its many details reveal themselves over time. An astonishing work of art, Maaäet should be a milestone for bands of all genres, especially those within neofolk and post-rock circles, to consider.

Tenhi: Sarastuskävijä

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.