detailed info: discogs.com

Peter Bjärgö is best known as the man behind illustrious projects such as Arcana and Sophia, but this brand new solo album of his is certainly not something to dismiss as a side project. Over [...]]]> artist: Peter Bjärgö
release: The Architecture of Melancholy
format: CD
year of release: 2011
label: Cyclic Law
duration: 40:19

detailed info: discogs.com

Peter Bjärgö is best known as the man behind illustrious projects such as Arcana and Sophia, but this brand new solo album of his is certainly not something to dismiss as a side project. Over the course of this seven track album, which stays close to a traditional LP length, Bjärgö explores a song style that is somewhere between ambient and darkwave, with a strong role for electric guitar melodies with subtle effects to give them a bit of an exotic touch.

The opening title track is perhaps closest to the signature gothic ethereal style of Arcana, with backing vocals provided by Ida Bengtsson. The rich, warm production bears that distinctly Swedish colour that we also find in lots of Cold Meat Industry and Cyclic Law releases. Percussion and heavy layerings are abandoned in the lovely second track, “Bitteresque”, which consists of just a minimal melody and brooding whispered vocals. We find similar calm and melancholic moods in the third and fifth tracks, while “Apathy” and “The Death of Our Sun” are full-blown songs again, with strong percussion, channeling that unique 1980s/1990s goth sound of inspirations like Dead Can Dance and Black Tape for a Blue Girl. While Arcana sometimes ventured a bit too close to such inspirations for my personal comfort, I find that this album avoids that pitfall for the most part. The long final track, then, is indeed a loop, a soft melody gently disintegrating, lulling the listener to the end of the album.

Not your usual Cyclic Law fare, this one, but a pleasant surprise for me. Nowadays it seems the goth scene is mostly about 4/4 industrial techno and fantasy folk, but The Architecture of Melancholy is the kind of music you could still hear often around the year 2000 in the clubs: dark, melancholic, subtle, and dreamy.

Reviewed by O.S.

Tracklist:

1. The Architecture Of Melancholy (6:47)
2. Bitteresque (4:44)
3. The Hidden Compass (3:59)
4. Apathy (5:08)
5. A Wheel Of Thoughts (4:05)
6. The Death Of Our Sun (5:24)
7. Sleep Dep.Loop1 (10:12)

Ode to Marmæle

Kentin Jivek is an upcoming French neofolk artist who has several online releases to his name. Ode to Marmæle is the most recent example, and a fine selection of fourteen tracks. Immediately striking about the album as a whole is the fine production, the [...]]]> Kentin Jivek – Ode to Marmæle [MySpace]

Ode to Marmæle

Kentin Jivek is an upcoming French neofolk artist who has several online releases to his name. Ode to Marmæle is the most recent example, and a fine selection of fourteen tracks. Immediately striking about the album as a whole is the fine production, the diversity of languages, predominantly French, English and Spanish, and a varied, rich, and at times experimental instrumentation and composition. Stylistic staples from neofolk combine excellently with influences from more traditional folk and classical guitar music. Some standout tracks are the almost ambient “Le Moine” which has a beautiful guitar sound and whispered vocals, the rocking “Et Vogue la Verve”, and the dark oriental instrumental “L’Effet Pandemonium”. A point of criticism might be that I’m not fond of the vocals in some places, like “Arsgang” and “Pink Clouds”. For me, the softer vocals in French and Spanish work better. As an album, perhaps Ode to Marmæle also lacks a bit of coherence, but this is compensated for amply by a number of excellent individual tracks. Altogether, we are dealing with an enjoyable album by an upcoming talent in experimental neofolk, and one that manages to blend the feel of different areas of European folk music in a great way.

The Joy of Nature – A Evasão das Fadas [discogs] & The Dream of the Empty Circle [discogs]

A Evasão das Fadas

To fill up the gap between the second and third instalments of The Empty Circle Trilogy, Luís Couto collected some unused material on these two limited releases. A Evasão das Fadas was released on Lurker’s Path, and it contains ten tracks showcasing more of the wonderful dreamy neofolk I have come to expect from the project. As always, various string instruments provide most of the melody, combined with flute, soft percussions and bass, and differing types of vocals. The end result is once more a very unique sound, that retains its links to other alternative folk, but providing a very own original voice. No tracks really stand out as particularly memorable, but together they do form a very pleasant continuum of relaxed song and more ambient moods with experimental and noisy sections. This album doesn’t really offer that much that the main and earlier albums don’t contain, but it is nevertheless a recommended purchase for those who have been following the project actively.

The Dream of the Empty Circle

The same goes for The Dream of the Empty Circle, which is a collection of outtakes from the various recording sessions that somehow didn’t fit into the albums in their final form. The first two tracks are calming psychedelic and dreamy songs, flowing along as the “Lady of the Flowing Waters” and “Lady of the River” in their titles. “Impermanence” has a more experimental sound, with background chanting and slightly distorted violin work, a bit reminiscent of Matt Howden‘s style. Another nice experimental track is “Zrcadlo”, with its noisy, misty guitars and deep percussion. The two following tracks venture into the more melodic and folky territory once more, with “Shadows of Our Ancestors” containing some reworked elements from the second The Empty Circle album. The final two tracks are more ambient and experimental once more, the most prominent and enjoyable elements being some quirky cat samples in the first, and the samples of mediaeval devotional music – I think I hear “Mariam Matrem” there – in the final track. The conclusion here is similar to the one above, some very nice material here that might not be as interesting as one of the regular albums, but surely worth your time if you enjoy The Joy of Nature or experimental ambient and folk in general.

Moongazing Hare - Marehalm [bandcamp]

Marehalm

Marehalm is one of the 2010 releases of Danish experimental folk project Moongazing Hare, led by David Folkmann Drost. Throughout this release, there is a highly varied and pleasant mixture of instrumental ambient and experimental electronica pieces, along with traditional folk songs and some own songwriting as well. The first two tracks fall into the first category, building up atmospheres with layered effects and electronic melodies, and also leaving place for some slightly distorted acoustic instruments and electronic rhythms. After this, we enter psychedelic folk territories with spacey melodies and female vocals courtesy of David’s wife Hiro on “Everything is Holy Brown”. The beautiful “Breathe Again” combines David’s own vocals with the rhythmic electronica heard earlier. The further tracks feature more of David’s beautiful calming vocals, as well as a similar mix of elements as in the first half of the album. Final highlight is a beautiful a capella rendition of “The Snow it Melts the Soonest”, seemingly straight from their living room. Lots to love here for those into experimental folk, and I hope Moongazing Hare will have the opportunity to release some of their material on a physical format. So far the only way to get this album is through bandcamp [see above], though very reasonably priced. I for one will certainly be keeping an eye on this project.

Parhelion - Midnight Sun [discogs]

Midnight Sun

Canadian Parhelion (the scientific term for Sun Dog) is one of the latest additions to the Cyclic Law roster. With that info in mind, it should come as little surprise that the album Midnight Sun is full of dark ambiences and glacial atmospheres. Parhelion combines the standard use of synth pads with waves of droning guitars, not too harsh, but just enough to add very pleasant levels of texture here and there. In general, the aqueous and flowing atmosphere of this album is very pleasant, and there are a couple of tracks that really stand out as beautiful, extended aural journeys, such as “Meditation Over Open Waters”, “A Lament for Whales” and particularly the stunning closing track “Solitude”. As a whole, though, the album can feel a bit long at times, at least to attentively listen to, and it doesn’t really add anything new to a well established style such as this. Beautiful production values and unobtrusive  compositions do make this a very pleasant listen with a couple of definite highlights, but it is only really interesting for the true fans of the Cyclic Law style.

I like surprises, though pleasant ones in particular. Just when I thought I could write down Cyclic Law as a slightly predictable label with minimalist dark ambient of usually high quality and occasional orchestral or martial outbursts, just then [...]]]> artist: AUN
release: Black Pyramid
format: CD
year of release: 2010
label: Cyclic Law
duration: 47:59

I like surprises, though pleasant ones in particular. Just when I thought I could write down Cyclic Law as a slightly predictable label with minimalist dark ambient of usually high quality and occasional orchestral or martial outbursts, just then comes along an album like Black Pyramid.

AUN is a duo (Martin Dumais and Julie Leblanc) from Montréal, with a couple of albums to their name already. If this most recent offering is representative, it’s an oeuvre stitched together from ambient, drones, and guitar psychedelia. The seven soundscapes on this album are highly varied, showcasing a wide array of textures conjured from synths and guitars, often forming subtle rhythms from the layering of melodic lines on different levels and loops. The result is stunning, combining the bright and deep colourings of astronomical inspiration with both coarse and delicate edges to the sound.

The title track is an excellent example, with its shimmering main melody waves and some rawer bits sticking out here and there. Of note is also the masterful closer “Shining”, starting with a psychy guitar freakout and segueing into massive distorted rhythms and drones.

It’s a perfect move on Cyclic Law’s part to sign AUN, as this is simply a stunning album. Obligatory listening for all ambient lovers, especially if you like Troum, Alphane Moon, and others in that vein where ambient, drone, ritual, and spaciousness meet.

Reviewed by O.S.

Tracklist:

1. Phoenix (7:04)
2. Taurus Ten (6:19)
3. Black Pyramid (7:59)
4. Ursa Major (6:38)
5. 2095 (8:02)
6. Ursa Minor (2:42)
7. Shining (9:15)

detailed info: discogs.com

The latest Cyclic Law release is Hel by Allseits, the project of Nina Kernicke from Bremen, Germany. Nina also records as All Sides, the name she used for her collaboration with Troum on Shutûn. The [...]]]> artist: Allseits
release: Hel
format: CD
year of release: 2009
label: Cyclic Law
duration: 44:27

detailed info: discogs.com

The latest Cyclic Law release is Hel by Allseits, the project of Nina Kernicke from Bremen, Germany. Nina also records as All Sides, the name she used for her collaboration with Troum on Shutûn. The current album is a trademark Cyclic Law release in the area of dark ambient drones with a spacey touch.

The album follows the course of a journey to the underworld of Norse mythology, from the roots of the World Tree Yggdrasil to the realm of (and corresponding goddess) Hel itself. We travel across the river (and bridge) of Gjöll, where the guardian Móðguð is encountered. Up next is Garm, the Nordic counterpart to Cerberus, the guardian hound of the underworld. The penultimate encounter is Fjalar, a name which can refer to both a dwarf and one of the roosters that will crow in the day of Ragnarök. Finally is Hel itself. In a musical journey, then, we somewhat retrace Hermóð’s quest in the Prose Edda to retrieve Baldr from the hellish realm.

Interesting concept matter aside, Hel is a decent and rewarding album that will appeal particularly to lovers of very dark and obscure drones, in the vein of projects like Svartsinn and Kammarheit. In that sense, the album is perfectly at home on this label. It’s not too long and each track has theme and structure different enough to keep the album interesting for the almost 45 minutes of its duration. In particular the closing title track is quite good, with its classic slow crescendo buildup.

However, you certainly won’t find any innovation here, which is perhaps typical of the genre at this moment. Dark ambient has been established as a unique and interesting style over the past fifteen years or so, but such a crystallisation inevitably leads to stagnation in many cases. As such, this is a perfect album if you can’t yet get enough of this kind of music, but not quite what you’re looking for if you seek the cutting edge of modern ambient.

Reviewed by O.S.

Tracklist:

1. Yggdrasil (6:44)
2. Gjöll (8:01)
3. Modgudr (6:47)
4. Garm (9:02)
5. Fjalar (7:45)
6. Hel (6:08)

detailed info: discogs.com.

Fucking Whore Society is Karjalan Sissit‘s latest full-length album, no doubt eagerly awaited by a growing group of fans. I count myself [...]]]> artist: Karjalan Sissit
release: Fucking Whore Society
format: LP, CD
year of release: 2009
label: Eternal Soul (LP), Cyclic Law (CD)
duration: 43:31 (LP)

detailed info: discogs.com.

Fucking Whore Society is Karjalan Sissit‘s latest full-length album, no doubt eagerly awaited by a growing group of fans. I count myself among the after seeing a stellar performance by the band last year, in which they presented their authentic – and alcohol-drenched – mixture of dark ambient, modern Finnish folklore, and crushing martial industrial sounds.

This new album was release on CD by Cyclic Law and on LP by Eternal Soul, the latter version of which is reviewed here particularly. On the whole, it seems Fucking Whore Society focuses mainly on the variation between threatening ambient pieces and more intense rhythmic industrial tracks, all of which exude an atmosphere of depravity, booze, and misanthropy. Nothing out of the ordinary for Karjalan Sissit, in other words. That goes for everything about the album, really. It is subtly different from its predecessors, but not a lot; the titles are a blend of obscenities in Finnish, Swedish, and English, and the quality level is high: dark and ominous when it needs to be, but overpowering and in your face as well.

Nice perks about the LP version are the bonus track (“Rautakeppi”), the limited coloured vinyl editions and the already quite fancy packaging of the regular LP, and the poster.

It’s not a surprising record; it won’t turn any heads or convert unbelievers. But it’s definitely an excellent and powerful album of post-industrial decay music that manages to ask at least some of the right questions in a  rotten – sometimes, admittedly – society: “har du horat runt på campingen?” Have you been whoring around on the camping?

Reviewed by O.S.

Tracklist:

A1. Jävla Psykopat Kärring (Värre Än En Horunge) (4:50)
A2. Asuntovaunussa Huoraamassa (4:18)
A3. Slöddret Måste Bort (2:31)
A4. Loppuun Nussittu Avioliitto (3:44)
A5. Har Du Horat Runt På Campingen? (4:01)

B1. Nyt Tulee Kirvestä; Perkele (3:44)
B2. Rautakeppi (3:16)
B3. Hyi Helevetti (You Are A Whore And Will Always Be) (3:41)
B4. Skitfolk (3:58)
B5. Knulldate (4:27)
B6. Solmu On Solmittu (4:57)

detailed info: discogs.com

Sinke Dûs is one of the new names on the Cyclic Law roster, and it’s a one man project by Marcus Lönebrink from Sweden. Not surprisingly, Akrasia, his debut album, contains three quarters of an hour’s [...]]]> artist: Sinke Dûs
release: Akrasia
format: CD
year of release: 2007
label: Cyclic Law
duration: 45:46

detailed info: discogs.com

Sinke Dûs is one of the new names on the Cyclic Law roster, and it’s a one man project by Marcus Lönebrink from Sweden. Not surprisingly, Akrasia, his debut album, contains three quarters of an hour’s worth of dark ambient with what I consider a distinctly Swedish sound. Sonic references include Kammarheit (who also appears on the album) and Desiderii Marginis, and I would say this album lies somewhere between the signature sounds of Cyclic Law and Cold Meat, if there is such a thing as a typical label sound.

The term ‘akrasia’ means to act against one’s better judgment, to comit wrong acts even though you know they are wrong. This theme is interpreted musically on this album, which results in seven pensive dark ambient tracks. There is a strong emphasis on synthesizer chords and waves, which make up the greater part of the album, weaving minimalistic, slow-moving melodies. Added to the mix are some typical industrial elements (metal sounds, static, etc.) that are often used in this line of work. This also reminds me of Raison d’Être at times. Akrasia is a subtle album, in the sense that there aren’t many sounds that push to the foreground. The wavy use of synths give it a relaxed atmosphere, although the sound is also quite dark and moody. The tracks themselves differ a bit in style and melody, but not a whole lot. My favourite is definitely the final track, “Fortitude”, which combines the dark atmospheres of the greater part of the album with a glimmer of hope.

Altogether an enjoyable album, and a nice achievement for someone who is just debuting. It’s not the most original or groundbreaking thing out there, but it is definitely a nice addition to your collection if you are really into the Scandinavian approach to dark ambient.

Reviewed by O.S.

Tracklist:

1. The Premonition (6:44)
2. Acedia (5:47)
3. Remnants (7:31)
4. That Which Was Lost (7:08)
5. The Abyss (5:17)
6. That Which Lies Beyond (7:11)
7. Fortitude (6:08)