Album ReviewsReviews

Review: V.A. - Whom the Moon a Nightsong Sings (2010)

artist: Vari­ous Artists
release: Whom the Moon a Night­song Signs
format: 2CD
year of release: 2010
label: Auerbach/Prophecy
dur­a­tion: 1:44:23

The sub­genre of dark acous­tic or dark folk keeps fas­cin­at­ing me end­lessly. On the one hand, it har­bours some of the most dir­ect and and power­ful musical expres­sions of roman­ti­cism, mel­an­choly and nature mys­ti­cism that can be found in pop­u­lar music. On the other hand, it is a hor­ribly lim­ited and stag­nant musical idiom that can annoy as much as delight with its pathos. Proph­ecy, with essen­tial artists of the genre as Empyrium and Tenhi in its stalls, is of course the label to expect a com­pil­a­tion like this one from, and as can be expec­ted, it is in its own way an admir­able piece of work. This 2CD col­lec­tion con­tains rare and unre­leased track selec­tions from a slew of more or less import­ant artists in the dark acous­tic spec­trum, embel­lished with fine cover art by Les Dis­cretsFursy Teyssier, and no doubt more of his fine illus­tra­tions to be seen in the digi­book when it comes out end of Octo­ber 2010.

One of the main attrac­tions of this com­pil­a­tion will for many be the return, after eight years, of Empyrium. Per­son­ally, I found a great part of the band’s out­put to have aged less than grace­fully com­pared to e.g. Ulver and Tenhi, but let’s put that aside for a moment. “The Days Before the Fall”, their new track, and pre­sum­ably a portent of an upcom­ing album, is a fine track, some­how draw­ing both upon their last album Wei­l­and and their earlier work on Songs of Moors and Misty Fields. The first part is richly orches­trated with gui­tar, drums, per­cus­sion and strings, and the joint vocals (chant and clas­sical) of Schwadorf and Helm. The second half sud­denly launches into a return to the metal style of the early albums, not jar­ringly so, but still sur­pris­ing con­sid­er­ing the mostly acous­tic nature of their last two albums.  On the whole the track is cer­tainly clas­sic Empyrium, an amal­gam of all their styl­istic qual­it­ies so far, but it is also a bit on the slick side, a bit over­pol­ished and… well… by the book. It’s sure to delight many, but I’m afraid it has­n’t com­pletely stirred anew my interest in the band.

Of the other artists fea­tured here, a num­ber come out of the wood­work quite nicely. I’ve never hid­den my admir­a­tion for Vàli’s subtle layered gui­tar work, and his return here with new mater­ial (albeit only two short tracks) deserves to be her­al­ded as much as Empyri­um’s. Octo­ber Falls is serene and sub­dued as always; a nice listen, but noth­ing we haven’t heard before. The inclu­sion of the two Les Dis­crets tracks is also very nice, not in the least because he is an artist of a new gen­er­a­tion, hav­ing shown on the recent album Septembre et ses Dernières Pensées to be able to mix shoegaz­ing metal and neo­folk in a way that goes a bit bey­ond the paradigm of more tra­di­tional artists in the metal/folk cros­sover. The short but sweet “5 Montee des Epies” is a stronger track than the second one, though, which is bogged down by the muddled vocal har­mon­ies of the band. Musk Ox is another one of those younger artists who have emu­lated the instru­mental dark acous­tic style to per­fec­tion, and always a pleas­ure to listen to. “Sol­stice” is a won­der­fully calm­ing track that is hope­fully also a pre­cursor to upcom­ing works.

There are a couple of note­worthy tracks on disc 2, as well, not in the least the rerelease of Ulver’s hard-to-find 1996 track “Synen”. Released ori­gin­ally on the strictly lim­ited Souven­irs from Hell com­pil­a­tion, it was some­thing that always wandered around the net and on tapes, never again find­ing an offi­cial home, until now. And deservedly so. 14 years after, the track shows that if we’re totally hon­est, many have attemp­ted to take this ori­ginal style of dark acous­tic music fur­ther, but few have been able to equal Ulver’s level back then with Kveldssanger, and indeed, with “Synen”, which is a mas­ter­piece of that style, com­bin­ing power­ful vocals in Nor­we­gian, gui­tar, cello, and per­cus­sion. “Kausi­en­ranta” is an equally mar­vel­lous track - I’ll refer again to the bril­liant video here -  and Tenhi is eas­ily one the most ori­ginal and refined of all bands present here. The only pity is that this is not a new track, and that while new mater­ial by this band would be more than wel­come. Some of the - for me - new­comers on this disc also present nice mater­ial. The moody piano opener by Nhor, for example, as well as the sparse acous­tic mean­der­ings of “Krähen­königin III” by Nuc­leus Torn. A final men­tion goes to Syven, a brand new pro­ject by A. Tolonen of Nest (also fea­tured on disc 1 with an acous­tic ver­sion of an older track) and Andy Koski-Sem­mens, a former vocal­ist of Pan­the­ist. The epic 14-minute “How Fare the Gods?” is very nice, a brood­ing dark piece based on tri­bal per­cus­sion, faint kan­tele melod­ies, thick synth drones and a selec­tion of ritual and clas­sical vocals. A touch more stately than Nest, and sure to appeal to a wide audi­ence.

So, what ver­dict to slap on a chi­meric release such as this? Let’s start with what this album is not. It’s not the holy grail of dark acous­tic, to give this “unnamed genre” a moniker, nor is it even a best-of. The song choices lean in vari­ous dir­ec­tions, not all of them geared simply toward qual­ity. Neither is it a true rar­it­ies col­lec­tion, as these songs are not all hard to find or unre­leased. And if you’re look­ing for the cut­ting edge of the genre, if there is any, you won’t find it in large quant­it­ies here either, as a sig­ni­fic­ant part of the tracks is quite old, and most oth­ers just rehash the same old style. To reit­er­ate my feel­ings from the open­ing, over the course of this release, I find that the genre is a dif­fi­cult one, and the bal­ance between cap­tiv­at­ing roman­ti­cism and over­blown chees­iness is a very fine one, or per­haps they are two sides of the same coin.

That does­n’t mean that it isn’t any good, of course. For all its inde­cision, Whom the Moon a Night­song Sings is on the whole a very pleas­ant and listen­able col­lec­tion, where the idea is not to try and find any line in the selec­tion, but just to listen and see what you like, and there is enough to like for a broad range of listen­ers. Com­bined with lov­ingly made art­work and a very fair pri­cing, that makes this com­pil­a­tion worth the effort of pur­su­ing any­way.

Reviewed by O.S.


1. Vàli: Hoest­melankoli
2. Empyrium: The Days Before The Fall
3. Nest: Sum­mer Storm (acous­tic)
4. Nebelung: Ich würd es hören
5. Octo­ber Falls: Viima
6. Ain­ulindalë: A Year Of Silence
7. Les Dis­crets: 5 Montee Des Epies
8. Les Dis­crets: Apres l’Ombre
9. Musk Ox: Sol­stice
10. Havn­att: Dagen Og Natta
11. Dornen­reich: Dem Wind Geboren
12. Vàli: Hare­dans I Fjell­hei­men

1. Nhor: Upon The Wind Its Wings Beat Sor­row Into The Stars
2. Ulver: Synen
3. Neun Wel­ten: Pan
4. Tenhi: Kausi­en­ranta
5. Bauda: Ocaso (acous­tic)
6. Orplid: Stille (Demo)
7. Nuc­leus Torn: Krähen­königin III
8. Lönn­dom: Språn­get Ur Ursprunget
9. Syven: How Fare The Gods?