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Review: V.A. – Mit Fester Hand – Allerseelenlieder (2011)

admin — Fri, 23 Sep 2011 12:13:08 +0000

artist: Various Artists
release: Mit Fester Hand – Allerseelenlieder
format: CD
year of release: 2011
label: Ahnstern
duration: 88:19

detailed info: discogs.com

A compilation dedicated to the long-standing Austrian industrial project Allerseelen is a very understandable thing, after over twenty years of activity in the European underground. Drawing mostly from the rich roster of Steinklang/Ahnstern label artists, Mit Fester Hand presents an interesting overview of Allerseelen work in varying interpretations, though mostly within the neofolk corner.

An individual treatment of all tracks on this compilation would be a bit too much, in my opinion, but there are certainly quite a few tracks worth mentioning on the CD. Not everything is very exciting, and the compilation has a rather unassuming take-off with a few average tracks, but the overall sound is constant and pleasant to listen to. In my opinion, things start to take off properly with the organ-heavy version of ”Flamme” by Die Weisse Rose. The Blood Axis & Sangre Cavallum version of “Sonne Golthi-Ade” is also very nice, particularly because of the organic folk sound, and the typical mediterranean instrumentation we can hear on other Sangre Cavallum work. Larrnakh provide an atmospheric point of rest in the album with a great mixture of ambient and folk styles. Àrnica in their turn impress me with a very stripped down folk style that feels very ritual and intimate. One of my favourite tracks must be the surprising “Flama” by Der Arbeiter, a very well-flowing flamenco-inspired track. Also interesting – both kitschy and catchy – is the bombastic electro of Der Feuerkreiner on “Feuersalamander”. The Svarrogh version of “Heiliges Blut” deserves mention too, not in the least because of its playful nod towards NON‘s “Total War”. Closing off the album is obviously the title track in its Allerseelen version, a powerful track with beat and martial samples, dedicated to a radical self-transformation. A pity that the Von Thronstahl version of this track wasn’t included as well (released last year by Cold Spring on the Conscriptum compilation) as it too provides a powerful version of this song.

Though not everything on Mit Fester Hand is pure gold, I’d say it is a very honourable tribute to Allerseelen and an important part of any collection of that band’s works, as well as an interesting release to check out for anyone in the European industrial/neofolk area.

Reviewed by O.S.

Tracklist:

1 Ernte – Santa Sangre (Jodorowsky Mix) (2:10)
2 Tyr-Kreis – Ernting (3:34)
3 Haberfeld – Olle Lust Wui Ewigkeit (4:53)
4 Die Weisse Rose – Flamme (3:52)
5 Fanes – Sonne Golthi-Ade (4:14)
6 Sagittarius – Musa (4:31)
7 Scivias – Idun (4:04)
8 Fräkmündt – Firnföuskamerad (4:08)
9 Hrefnesholt – Herbstlied (5:34)
10 Ô Paradis – Marqués De Púbol (4:45)
11 Blood Axis & Sangre Cavallum – Sonne Golthi-Ade (3:51)
12 Sturmpercht – Sturmlied (5:24)
13 Larrnakh – Knistern (4:30)
14 Àrnica – Foc De Salamandra (5:11)
15 Klammheim – Allerseelen (5:23)
16 Der Arbeiter – Flama (4:53)
17 Der Feuerkreiner – Feuersalamander (5:05)
18 Cawatana – Alle Lust Will Ewigkeit (3:57)
19 Svarrogh – Heiliges Blut (4:40)
20 Allerseelen – Mit Fester Hand (3:40)

Review: Jahrtal – William Blake – Lieder Von Unschuld Und Widerfahren (2009)

admin — Sat, 10 Jul 2010 13:32:19 +0000

artist: Jahrtal
release: William Blake – Lieder Von Unschuld Und Widerfahren
format: CD
year of release: 2009
label: Ahnstern
duration: 57:57

detailed info: discogs.com

Austrain Ewald Spiss and his project Jahrtal has been active the past year in developing his own take on alternative folk, resulting in the release of several albums recently. One of them is this one, released by Ahnstern, a setting of ten poems by William Blake from Songs of Innocence and Experience.

In terms of style, Spiss remains quite close to the German neofolk from around the turn of the millennium like Orplid and Forseti. This means an emphasis on calm, fingerpicked acoustic guitar melodies, soft male and female vocals, and the addition of support instruments like flute and fiddle here and there. Jahrtal adds to this a pleasant touch of Indian instruments in some places.

The problem with this kind of neofolk is that it runs the risk of becoming kitschy at times, like a number of other German genres. On the whole, the music on this album is somewhat tame, seeming to express in sound only the first stage of Blake’s lyrical diptych. The strong contrast between Unschuld and Widerfahren could have been emphasised more strongly with a twist in the music halfway, with a more satisfactory result.

That said, the music is very relaxing, and Spiss’ translations of the poems are very elegant. As such, this is an album that will please enthusiasts of this particular calm and pastoral neofolk style, as well as those who collect musical settings of Blake’s writings.

Reviewed by O.S.

Tracklist:

Lieder Von Unschuld

1. Eingang – Der Pfeifer (4:15)
2. Das Hallende Grün (5:55)
3. Nacht (8:51)
4. Frühling (4:58)
5. Wiegenlied (7:14)

Lieder Vom Widerfahren

6. Eingang – Der Erde Antwort (5:41)
7. Mein Hübscher Rosenstrauch (3:06)
8. Das Schulkind (5:47)
9. Kleines Verlorenes Kind (7:01)
10. Ach! Sonnenblume (5:060

Review: The Joy of Nature – The Empty Circle Part II – Rastos De Sangue E Fragmentos Da Tradição (2009)

admin — Sun, 04 Apr 2010 10:32:13 +0000

artist: The Joy of Nature
release: The Empty Circle Part II – Rastos De Sangue E Fragmentos Da Tradição
format: CD
year of release: 2009
label: Ahnstern
duration: 64:58

detailed info: discogs.com

Rastos De Sangue E Fragmentos Da Tradição is the second part of the series of The Empty Circle, and also the second full length by The Joy of Nature on Ahnstern. While remaining faithful to the project’s unique Mediterranean neofolk sound, this particular album benefits from an emphasis on song, as well as the addition of guest musicians who bring touches of their own style to the music.

While the rich, dreamy sound of The Joy of Nature‘s previous releases remains in place, masterfully mixing various string instruments, percussion, as well as horns, field recordings, and other sources, this album has a fresh sound to it, leaving more room for vocals and song structures to emerge, and less emphasis on almost soundscape-like compositions. A perfect example, as well as one of the best tracks on the album is “Cavalos Correm Nas Minhas Veias”, a rousing uptempo track with a martial rhythm backing and a generally uplifting and battle-ready sound to it. Add to it chariot sounds, bagpipes, whistles and whatnot, and you’ve got an excellent track that wouldn’t be out of place with a project like Sangre Cavallum. No surprise perhaps that Bruno Ardo is one of the guest musicians on this track.

There is slightly more room for more expansive tracks on the second half of the album, where experimental compositions carve out a space for themselves. We are treated to a showcase of project mastermind Luís Couto‘s broad range of musical and vocal styles, the latter of which still aren’t perfect everywhere, but this detracts little from the high level of general quality of the music on this album. Particular mention deserves to go to tracks like “Sombras Dos Nossos Ancestrais” [Portuguese for Shadows of Our Ancetors, if general linguistic knowledge doesn't fail me], with its diverse ritual character, and “A Senhora Do Almortão E A Criança Esventrada”, equally flowing and ritual, and sounding like a warmer southern European version of Tenhi, if you can imagine such a thing.

Coupled with themes of nature, spirituality and tradition, the music on this album is highly convincing in its combination of compact songs and extended experimental compositions. In many respects, the most mature The Joy of Nature album to date, and one that is certain to please lovers of Luís’ earlier work, as well as lovers of experimental folk music in general.

Reviewed by O.S.

Tracklist:

1. Invocação Ao Arcanjo Miguel (1:05)
2. Tanchão (3:14)
3. Terra De Lava E De Mar (4:06)
4. Ó Menino Ó (2:55)
5. Nas Veias Do Menino (2:15)
6. Cavalos Correm Nas Minhas Veias (4:03)
7. Sete Cidades (5:23)
8. Senhora Da Manhã Vitoriosa (3:48)
9. Por Tua Saudade (5:52)
10. Sombras Dos Nossos Ancestrais (6:29)
11. A Senhora Do Almortão E A Criança Esventrada (8:49)
12. Do Outro Lado Da Montanha (8:28)
13. O Cortejo Sinistro Das Sombras (5:39)
14. Para Lá Das Sombras (2:52)

Review: Birch Book – Volume III: A Hand Full of Days (2009)

admin — Wed, 27 Jan 2010 13:24:33 +0000

artist: Birch Book
release: Volume III: A Hand Full of Days
format: CD, LP
year of release: 2009
label: Little Somebody (CD), Ahnstern (LP)
duration: 60:41

detailed info: discogs.com

After releasing the excellent second Birch Book album in 2007, and a couple of successful tours with the likes of Woven Hand, Faun, and Sieben, it was time for B’eirth to settle down and record the follow-up, which is what I hold in my hand now. A Hand Full of Days was released on CD by Little Somebody Records, who’ve found a perfect addition to their roster with this album, and the vinyl edition was once again handled by Ahnstern.

The album is constructed in symmetrical fashion, with the instrumental birch tracks opening and closing the album, as they have done twice before. Also at opposing places are “Left Hand” and “Right Hand”, atmospheric instrumentals that provide a repose from the ten songs that make up the bulk of this hour-long album. The songs are in a style that has been more or less the same throughout the past decade: gentle singer/songwriter folk, with clear influences from psychedelic and neofolk, as well as touches of americana.

The production and polishing of B’ee’s music has never been better than on this album, which lends it a strong appeal, though I must say A Hand Full of Dayswon’t turn any heads in terms of innovation. B’ee does what he does best, and his strengths lie mostly in creating gentle, flowing songs with eloquent lyrics. At times, a darker atmosphere is achieved, on an instrumental like “Hatched in Stone”, which is an excellent track, but held back by a sense of understatement that works better on peaceful tracks like “Patchwork Woman”.

Altogether, though, this is another good album from one of the more unique voices in contemporary alternative folk. It most certainly won’t disappoint fans like me, but newcomers will find much to enjoy as well, especially if you have a love for calm, laid-back folk.

Reviewed by O.S.

Tracklist:

1. Birch Leaves (2:08)
2. Feet Of Clay (3:30)
3. Empty Corner Of The Page (5:42)
4. Left Hand (3:36)
5. Patchwork Woman (5:16)
6. Stray Summer Song (6:28)
7. Hatched In Stone (6:57)
8. Sad Song (3:39)
9. Nothing More (3:23)
10. White Angel (4:52)
11. Right Hand (4:02)
12. Life’s Lace (3:52)
13. Will Of The Wind (5:02)
14. Birch Leaves (2:14)

Review: Sangre Cavallum – Veleno de Teixo (2007)

admin — Fri, 30 May 2008 23:00:40 +0000

artist: Sangre Cavallum
release: Veleno de Teixo
format: CD
year of release: 2007
label: Ahnstern
duration: 62:42

detailed info: discogs.com

Sangre Cavallum is no new name for me, but I hadn’t had the pleasure of hearing their music before I got Veleno de Teixo. The band hails from the Portuguese area of Callaecia, a region with its own unique heritage, language, and culture. And this is exactly what Sangre Cavallum is all about: expressing this identity in music.

The band themselves do not refer to the music as neofolk, and in a sense, that is correct, although the preoccupation with ethnic identity and heritage definitely has its parallells in the neofolk scene. Regardless, the music on this album contains a seamless blend of traditional folk and mediaeval music, modern folk/martial experimentation, and even a slight rock/metal touch. Other distinctive elements are the powerful and epic vocals of new lead singer Emanuel Meno da Cunha, and the extensive use of folkloric field recordings.

As can be expected, this results in a varied sound, ranging from rousing martial folk tracks (“Braneas Fastoras” and “Bravura” being my favourites) to traditional folk dances (“Chin Glin Din”, “Cantiga”) and pathos-filled ballads (“Às Mães às nossas Mães”). The great diversity of instruments contributes even more to this. Many great percussive elements, guitars and other strings instruments, bagpipes, hurdy-gurdy, etc. It’s all there.

The title of the album means ‘yew poison’, and it refers to the ritual self-sacrifice made by women in the early history of the region when facing defeat at the hands of their enemies. This is but one of the many ways in which the band incorporates its local heritage into their releases. The superb cover artwork and other layout, as well as the great masks worn by the band on the pictures also deserve mention.

There is perhaps some room for improvement here and there – not all tracks are equally strong, and the vocal performance isn’t always consistent, but the merits of this album are great. On the whole, there are many strong and evocative tracks, and I consider Sangre Cavallum to be one of the more original and pleasant acts in today’s alternative folk world. Don’t hesitate to check out this album if the themes of history and folk heritage in music appeal to you!

Reviewed by O.S.

Tracklist:

1. Bravas (1:22)
2. Dona Angelica (3:57)
3. Colosso de Fedralva (4:20)
4. Ó Menino Ó (3:55)
5. Braneas Fastoras (4:49)
6. Moinho de Sangue (4:23)
7. Chin Glin Din (3:29)
8. Às Mães às nossas Mães (3:13)
9. Cego Andante (5:37)
10. Monte Medulio (4:03)
11. Duriana Troa (4:44)
12. Sagrada Teixo / Cruel Vento (4:52)
13. Cantiga (2:44)
14. Tremor – rebentam peles, scivas e águas (2:47)
15. Noite de Solstício (3:22)
16. Bravura (5:05)