Recenzija: Gaoth - Dying Season's Glory, (2016.)

Gaoth -  Dying Season's Glory

(Scroll down for English)

Projekat Fionn-a Stafort-a iz benda Celtachor, Gaoth, mi je od samog početka zapao za oko. Kao veliki fan Celtachor-a redovno pratim i samostalne projekte članova benda. Fionn je prošle godine bio vrlo aktivan, te samostalno izdao (a koliko sam pročitao reizdanje će ponoviti i velika atmosferik black metal izdavačka kuća), svoj prvi album Dying Season's Glory. Svu produkciju i tekstove pesama potpisao je lično Fionn. Fizički izgled albuma me je oduševio. Turobno drveće na cover-u albuma najavljuje kraj prirode i jednog godišnjeg doba. Opisuje savršeno atmosferu keltskih pejzaža i nasleđa (lični utisak). Album ima devet pesama otpevanih na engleskom jeziku. 

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Otvara ga dosta upečatljivo uz zvuke ptica pesma, Autumnal Breath. Tonovi teški, ali prijaju. Vokal iz dubine, rifovi se rastežu i mi uživamo. Pesme su duge i sa namerom skrojene. U drugoj numeri Weeping of the Fens i trećoj Gaoth, tonovi su malo drugačiji i nekako "nežniji". Shvatamo da je album pravljen za posebne sladokusce atmosferik black metala. Vokal, iako u pojedinim momentima pomalo nejasan (ako je to uopšte zamerka) i dalje odlično vodi kroz čitav album. Tako istim intenzitetom uživamo u pesmama Will of Mountains (gde hodamo po keltskim planinama) i Waning of the Years, koja nas instrumentalnim tonovima vodi u sledeću šestu pesmu Where Leaves Depart. Jedan fantastičan instrumental, koji me je u potpunosti oduševio. Sedma pesma Astral Paths, lagani uvod i upravo preslušavamo najbolju pesmu na albumu (lični utisak). Vokal ovde ubija koliko je dobar. Muzika rastura naš organizam i mi uživamo. Došli smo do pretposlednje pesme, Dying Season's Glory. Pesma po kojoj album nosi naziv, pesma koja vas neće ostaviti ravnodušnim, a to ćete shvatiti kada je budete preslušavali. Spomenuću samo odlične rifove koji oduzimaju dah, dok se za ostalo sami morate uveriti. Svakako jedna od boljih pesama. Došli smo do kraja i do pesme The Burning Horizon. Beskrajni horizont je ispred nas, vatra nas okružuje. Nestajemo u potpunosti. Savršeno za kraj.

Utisci? Ako volite umetnost, volećete svakako ovaj album. Ali imajte na umu jedno, slušajte ga dok šetate po prirodi, šumi, stavite slušalice. Osluškujte oko sebe i shvatićete o čemu vam govorim. Čujemo se!

Gaoth -  Dying Season's Glory

Irish Atmospheric/Black Metal

Independent, (2016.)

01: Autumnal Breath

02: Weeping of the Fens

03: Gaoth

04: Will of Mountains

05: Waning of the Years

06: Where Leaves Depart

07: Astral Paths

08: Dying Season's Glory

09: The Burning Horizon

Ocena: 9,5/10.

                                                 

Gaoth -  Dying Season's Glory

Fionn Stafort project from a band Celtachor, Gaoth, for me from the very beginning caught the eye. As a big fan Celtachor routinely follow the band members solo projects. Fionn last year was very active, and self-released (and from what I read re-release will repeat big atmospheric black metal label), his first album Dying Season's Glory. All the production and the lyrics signed personally Fionn. The physical appearance of the album I was thrilled. Dreary trees on the album cover in announcing the end of nature and a season. It describes perfectly the atmosphere of Celtic heritage and landscape (personal impression). The album has nine songs sung in English.

It opened with a lot of striking with the sound of bird song, Autumnal Breath. Tones difficult, but good for you. Vocals from the depths, reefs stretch and we enjoy. Songs are long and deliberately tailored. In the second song Weeping of the Fens and third Gaoth tones are slightly different and "softer". We understand that the album made for special gourmet atmospheric black metal. Vocals, although in certain moments somewhat vague (if at all gripe) still awesome runs through the whole album. So enjoy the same intensity in the songs of Will Mountains (where we walk to the Celtic Mountains) and of the Waning Years, instrumental tones, which leads us to the next sixth song Where Leaves Depart. One fantastic instrumental, which I was totally thrilled. The seventh song Astral Paths, easy introduction and just listening to the best song on the album (personal impression). Vocal here how good kills. Music ripping apart our bodies, and we enjoy. We came to the penultimate song, Dying Season's Glory. The song which the album carries the title, song that will not leave you indifferent, and that you will realize when you listened. I will mention just a great riffs breathtaking, while the rest is up to you to convince. Definitely one of the better songs. We came to an end and the song The Burning Horizon. Endless horizon in front of us, fire surrounds us. Disappear completely. Perfect for the end.

Tips? If you love art, you'll love this album definitely. But remember one thing, listen to it while walking in nature, forest, putting on headphones. Listen around and you'll understand what I'm saying. See you!

Gaoth -  Dying Season's Glory

Irish Atmospheric/Black Metal

Independent, (2016.)

01: Autumnal Breath

02: Weeping of the Fens

03: Gaoth

04: Will of Mountains

05: Waning of the Years

06: Where Leaves Depart

07: Astral Paths

08: Dying Season's Glory

09: The Burning Horizon

Mark: 9,5/10.

Recenzija: Elsewhere Shine - Mater Morbi, (2016.)

Elsewhere Shine - Mater Morbi, (2016.)

 

Super grupe su uvek odlična zamisao. I treba ih imati što više. Kod nas se za mene izdvojila još jedna vredna svakog trenutka i pažnje. To je Elsewhere Shine. Već duže su na sceni, ali sada smo konačno ugledali prvenac. U pitanju je EP, Mater Morbi, koji ima svoje digi izdanje (Nocturne Media), a  ovih dana je doživeo i fizičko izdanje od strane Miner Records-a. To je dobro, jer smatram da album kada dobije svoju "plastiku", on u pravom smislu te reči živi i traje. Na ovom EP-u se dugo, detaljno i pažljivo radilo. To se oseća u svakom tonu dok sam se skoro pa višemesečnim preslušavanjem bavio.

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Na njemu se nalaze četiri pesme i počinjemo sa preslušavanjem prve Mater Morbi. Simfonijski uvod obećava nešto novo i prija našim ušima. Uključuju se kombinovano muški i ženski vokal. Moć simfonije je totalno oko nas u svakom segmentu ove odlične igre. Podseća i na opera rock (lični utisak) i stvara odličan osećaj. Vokal fantastičan, klavijature maestralno zabiberile pesmu. Jednostavno odličan start. Prešli smo na drugu pesmu Perpetual Silence. E, ovde već udaraju drugačije. Ako su prvom numerom krenuli polako, sada napadaju. Nema potrebe za odbranom, jer napad je siloviti i pažljivo planiran. Posle silovitih rifova, uključuje se maestralni vokal. Tzeetzah razbija! Kada budete ovo preslušavali shvatićete moje reči. Podseća na Sabbath, Dio-a. Pesma traje, tonovi se razlivaju, a pred sam kraj razbijaju nas rifovima, direkt u glavu. Oporavili smo se nekako i prešli na sledeću treću numeru, Swan Nebula. Uživamo u glasu Bojane Panovske i muzici koju stvaraju Marko Sinadinović i Miloš Krsmanović. Stičemo utisak da smo u nekoj dvorani, sceni iz film "Fantom iz Opere". Osećaj je nestvaran dok uživamo u ovoj savršenoj baladi. Za kraj ostaje ono što su Stanići zakuvali, numera Suneater. Cepaju na prvu! Porodični vokali, dali su specifičan "šmek" ovom izdanju (lični utisak). Pesma nas vodi, daje nam smisao, razlikuje se. Uživanje je potpuno, smiraj pronađen, EP je završen.

Utisci? Svakako novina koja je oplemenila našu scenu. Ciljano rađena, što dovoljno potvrdjuje impozantan broj imena naše scene koji su uključeni u ovaj projekat. Stanići u svom studiju nasnimili, Boris Šurlan sve to miksovao na maestralan način kao i sve do sada. Izdavači su to pustili u etar i pred vama je jedno od najboljih EP ostvarenja naše scene protekle, a definitivno i ove godine. Ako mi ne verujete, poručite disk od benda ili pak izdavača i podržite scenu, nećete se pokajati!

 

 

Elsewhere Shine

Progressive Doom Metal 

Nocturne Media/Miner Records, (2016.)

 

01: Mater Morbi

02: Perpetual Silence

03: Swan Nebula

04: Suneater

 

Ocena: 10/10.

 

 

 

 

Recenzija: Myrkgrav – Taak og farvel, ida er blitt ei annen, (2016.)

Myrkgrav – Taak og farvel, ida er blitt ei annen

[Scroll down for English] 

Iza one-man projekta Myrkgrav stoji čovek koji se zove Lars Jensen.  On je zadužen za sve instrumente i vokale.  Od gostujućih muzičara, na ovom albumu je Lars angažovao Olava Luksengårda Mjelvea, čoveka koji je jedan od vodećih umetnika na hardinger violini.  Bas na sedam pesama je odsvirao Erland Antonsen, dok je clean vokale ne jednoj pesmi odradio Berndt Fjellestad.  Kao projekat, Myrkgrav se pojavljuje 2003, i odmah na početku se nameće kao veoma snažan konceptualan projekat sa jakim lirskim i vizuetlin tematskim vezama sa folklorom i istorijom Larsone domovine, Ringerike u Norveškoj.  Muzički, Myrkgrav je u osnovi ekstremni metal projekat, sa jakim osloncem na norvešku folk muziku.  Iako je u početku projekat bio na nivou sobnog black metal one-man projekta, vremenom je Myrkgrav izrastao u veoma zanimljivu i muzički složenu mešavinu nekoliko muzičkih stilova, ali i dalje je zadržava ekstremna metal osnova.  Ovo je dakle projekat koji se ne plaši da dopusti svom zvuku da evoluira.

Neko bi možda odmah rekao da je deset godina predug period izmedju dva albuma, ali upravo toliko je prošlo izmedju prvenca Trollskau, Skrømt og Kølabrenning (2006) i Taak og farvel, ida er blitt ei annen (izašao 26. oktobra ove godine na svim streaming servisima).  Kada ostane tako duga praznina izmedju dva albuma fanovi obično počnu da strepe da će bend koji budu čuli biti nešto potpuno drugačije od onog koji su slušali.  Ne retko se upravo to i desi, ali u nekim slučajevima to bude na dobro, a ne retko to bude razlog za razočarenje fanova koji su očekivali da čuju nešto drugo.  Generalno, u muzici su inovacije dvosekli mač i skopčane sa puno rizika.  Medjutim, u slučaju Myrkgrava, izgleda da je Larson uspeo da napravi album koji je logična progresija od onoga što se moglo čuti na debiju.  Ono što je možda i najveći Larsenov kredit na ovom albumu, jeste činjenica da je uspeo da tradicionalne norveške folk instrumente učini integralnim delom Myrkgrav muzičkog miksa, a ne da ih koristi samo radi stvaranja atmosfere. 
Na moju veliku žalost, kao što i sam naslov albuma nedvosmisleno nagoveštava (Taak og farvel, ida er blitt ei annen znači „Hvala i zbogom, vremena su se promenula“), ovo je isto tako i poslednji Myrkgrav album jer je Larson odlučio da ugasi ovaj projekat.  Činjenica je da se vremena menjaju, a sa njima se menjaju i ljudi, i to je neizbežno.  Zbog te činjenice, najprirodnije je bilo da u ovaj album budu uvršteni i novi aranžmani ili ponovno snimanje nekih starih pesama, što je ispalo kao svojevrsno muzičko odavanje slave starom Myrkgravu. 
Dok slušate album imate utisak kao da kroz durbin posmatrate prošla vremena, kulturu Ringerikea, Krokskogena, Nordmarka i Lommdalena, kao i okolnih oblasti u kojima je sam Larson odrastao.  Ovo vam dodje kao neka istorijska i kulturna razglednica, pretočena u muziku.  Pesma za pesmom vam pred oči donosi rukom crtanu ilustraciju u maniru poznatog norveškog autora, iliustratora, slikara i crtača stripova Kjella Aukrusta.  Nema štedjenja, jer je Myrkgrav u onome što je radio uvek bio epitom davanja fanovima punog paket-aranžmana.  Zbog toga je Larson ovog puta, zajedno sa Olavom Luksengårdom Mjelveom, osmislio čitav prateći vizuelni doživljaj onoga što ovaj album želi da predstavi – svet davno zaboravljenih priča i legendi, koje su bukvalno oživele u rukama i na instrumentima ova dva vrsna umetnika.  Njih dvojica su uspeli da ih vrate u istoriju i učine ih ponovo njenim integralnim delom.
Myrkgrav su definitivno jedan od onih projekata o kojem bi ljubitelji folk-metala trebali mnogo više da znaju, a odgovor na pitanje „zašto to nije tako“ sigurno treba tražiti negde u činjenici da je bend scenu počastio samo jednim full-lengthom pre ovog albuma.  Dok ga slušate, u misli vam naviru bendovi i projekti koji neguju sličnu folk-pozadinu – švedski Utmarken, Borknagar ili Enslaved, Baldrs Draumar ili Grimner, pa čak i Ishahnov projekat Hardingrok dolazi ovde u jednačinu.  Ali u isto vreme, ono šta Larson radi je ipak drugačije od pomenutih bendova i projekata.  Sve pesme sa vokalima su otpevane na norveškom jehziku, osim „Skjøn Jomfru“ koja je otpevana i na engleskom.  A kako bi i bilo drugačije, jer folk-projekat koji koristi bilo koji drugi jezik osim maternjem bi bio besmislen.  Žešće i više black metal orijentisane pesme su jednako dobre, kao što su više folk orijentisane pesme i instrumentali tako maestralno odradjeni da uspevaju da vas prenesu u vreme i priču o kojoj govore.  Produkcija je zaista odgovarajućeg kvaliteta, što dopušta svim folk instrumentima da dobiju odgovarajuće mesto u miksu.  „Finnkjerringa“ i „Om Å Danse Bekhette“ su pomenute dve starije pesme koje su oživljene na ovom albumu, i zaista, izbor je bez greške, jer ove pesme nekako savršeno zvuče u društvu novijih pesama, ovako osavremenjene.  I zaista, jako je teško iz ovako kompaktnog i snažnog albuma izdvojiti neke pesme koje kvalitetom odskaču od celine.  U slučaju ovog Myrkgravovog albuma, ovo bi bilo krajnje nelegitimno, jer bi se izgubio doživljaj koji ovaj album upravo i jedino kao celina pruža.  Jako mi je žao što od Myrkgrava više nećemo čuti ništa novo, ali jedno je sigurno, Myrkgrav su svoju priču završili najbolje što su mogli, jednim od najboljih folk-metal albuma koje sam ja ikada čuo.  I ne, folk-metal nije samo muzika uz koju se dobro napije i igra.  Ne!  Myrkgrav je ovim albumom pokazao da je folk-metal itekako važan žanr metal muzike, koji može da sceni da veoma kvalitetne albume, a ovo je sigurno jedan od njih. 

Myrkgrav – Taak og farvel, ida er blitt ei annen
folk metal
Pest Production, (2016.)

Ocena: 10/10.

Recenziju napisao: Igor Živić

       

Myrkgrav – Taak og farvel, ida er blitt ei annen

Behind the one-man project Myrkgrav is a manwhose name is Lars Jensen.  He is doing all instruments and vocals.  On this album he has had some guest musitians – Olav Luksengård Mjelve, the man who is one of leading artists on hardinger violine, bass on seven tracks was plaied by Erland Antonsen, and clean vocals on one track were done by Berndt Fjellestad.  As a project, Myrkgrav appears in 2003, and right from the beginning it shows itself as a strong conceptual project with strong lyrical and visual thematic connections witht he folklore and history of Larsons motherland, Ringerike in Norway.  Musically, Myrkgrav is in its basis, a extreme metal project, with strong leanings towards Norwegian
folk music.  Although in the beginning the project was at the level of room-black metal, with the time passing Myrkgrav has grown up in a very interesting and musically very demanding mix of several musical styles, but still this extreme metal basis was present.  So, what you have in front of you, is a project that is not afraid to let its sound to evolve.
Someboody might say already that ten years is a period of time that is too long in between two albums, but this is exactly hot musc time passed between the debue Trollskau, Skrømt og Kølabrenning (2006) and Taak og farvel, ida er blitt ei annen (got released in October 26th on all streaming services).  When such a long time distance is left in between two albums fans usually beginn to fear that the band that they would hear would be something totally different from what they used to listen.  Often this is exactl what happens.  In some cases that come out good for the band and the fans, but often it becomes the main reason for dissapontment of fans that expected to hear something else.  Generally, in the world of music innovations are a double edged sword, connected eith a lot of risk.  In the case of Myrkgrav, it looks like that Larson succeded in making an album that is a logical progression from what we could hear at the debue.  The thing that might be even the biggest Larson’s credit on this album is the fact that he managed to make traditional norwegian folk instruments to be an integral part of Myrkgrav’s musical mix, and not to use them only for the sake of atmosphere. I was devastated to hear that, as the album title foreshadows (Taak og farvel, ida er blitt ei annen means “Thank you and good bye, the time has changed”), this is the last Myrkgrav’s album, because Larson has decided to end this project.  The fact is that the time has really changed, and that people are changing with them, and that is unavoidable.  Because of that, it has been reasonable ti include in this album some new arangements of some old tracks, which appears to be some kind of musical glorification of old Myrkgrav.
During the time you will spend listening to this album, you will be under the impression of looking through the mignifying glass some past times, culture of Ringerike, Krokskogen, Nordmark and Lommdalen, and surrounding areas in which Larson has grown up.  This album looks like some kind of historical and cultural postcard, transferred into music.  Song after song are bringing in front of your eyes a hand drown illustration in the way of well known Norwegian author, illustrator, painter and cartoonist Kjell Aukrust.  There is no holding behind, because Myrkgrav was always so deep into giving the full package to the fans.  Because of that, this time, Larosn together with Olav Luksengård Mjelve, thought out the whole visual experience of what this album wants to present – the world of long ago forgotten stories and legends, that were resurrected in the hands and on the instruments of these two artists.  The two of them have managed to bring them back to life, and make them an integral part of the history, once again.
Myrkgrav are definitelly one of those projets that fans of folk-metal should know much more off, and the answer to the question “why is this not so” should be looked after in the fact that the band has only one full-length album so far.  And untill you listen to it, you will definitelly remember other bands and projects that are nurturing similar folk-background – Swedish Utmarken, Borknagar or Enslaved, Baldrs Draumar or Grimner, and even Ishahn’s project Hardingrock.  But in the same time, what Larson is dooing is a different story alltogether.  All songs with vocals have been sangd in native Norwegian language, except „Skjøn Jomfru“ that was sangd in English too.  The heavyer and more black metal oriented songs are equally good, as those which are more folk oriented or even instrumentals.  The latter ones are so masterfully done that the are complementing to the time and the story other songs are talking about.  Production is good, and it helpes to all folk instruments to get the proper place in the mix.  „Finnkjerringa“ and „Om Å Danse Bekhette“ are two older tracks that were re-recorded, and their choice is a spot on, because they sound so perfectlly fitting in the company of newer tracks.
It is very hard to pick some tracks that are standing out from the rest of the album that is so compact and strong as this one is.  In the case of this Myrkgrav’s album, even to try to do this is extremely illegit, because the listenet would loose the experience that this album only as the whole can give.  I am sad because we will not hear anything new from Myrkgrav in the future, but one is for sure – Myrkgrav has finished their story the best they could – with one of the best folk-metal albums that I’ve ever heard.  And not, folk-metal is not only a music that you can make you numb from alcohol with and dance your feet out.  No!  Myrkgrav has showh with this album that folk-metal is very important sub-genre of metal music, that can give to the scene very good albums, and this one is for sure one of them.

Myrkgrav – Taak og farvel, ida er blitt ei annen
folk metal
Pest Production, (2016.)

Mark: 10/10.

Made by: Igor Živić

 

                                     

Recenzija: Huldre – Tusmørke, (2016.)

Huldre – Tusmørke

[Scroll down for English] 

Huldre nam dolaze iz Danske i prave predivnu pagan-folk muziku o trolovima, vilama, starim nordijskim pričama i legendama...  Ovoj formuli ostaju verni i na ovom albumu.  Šest članova koji su svi veoma talentovani muzičari uspevaju da inkorporiraju u svoj muzički izraz više različitih intrumenata i tehnika sviranja, a opet ne izgubivši u tom procesu smisao.  Svoju muziku su obogatili nekim tipičnim srednjevekovnim instrumentima i njihovi scenski nastupi su veoma bogat vizuelni doživljaj, jer na binu obično ne izlaze bez dosta zelenila.  Nanna Barsley je osoba veoma moćnog vokala koju teško da možete da fotografišete dok je na bini, jer je stalno u pokretu, kao što je i njihova muzikam što samo pokazuje sa koliko energije i predanosti oni pristupaju svojoj muzici.  Tu su još i Troel Dueholm na flauti, Laura Beck na violini, na gitari i lauti je Lasse Olufson, basista je Bjarne Kristiansen a bubnjeve i ostale udaraljke svira Jacob Lund.  Verni svojoj nordijskoj tradiciji, ne odustaju od upotrebe maternjeg jezika (norveški i danski), ali kada njihova muzika jednom obuhvati i zarobi vaša čula, skoro da i ne primećujete da postoji jezička barijera. Nakon veoma uspešnog Intet Manneskebarn, bend je učesvovao na mnogim velikim svirkama i pobrao je brojne nagrade, uključujući i treće mesto na Wacken Metal Battle 2014.

Na ovom albumu su zasukali rukave i zaista odlučili da se širokoj svetskoj sceni predstave albumom koji je veoma pažljivo promišljen i izveden, tako da je veoma prijatan za slušanje.
„Jagt“, pesma koja otvara album je, već na samom startu, prava eksplozija finih i tananih melodija na flauti, violini, sa oštrim gitarskim rifovima i bubnjevima koji prosto eksplodiraju u vašim ušima.  Nanna suvereno vlada svojim glasovnim sposobnostima.  Produkcijski, ovaj album je uspeo da istanke sve finese i detalje koji muziku koju ovaj bend izvodi i čini tako posebnom.  Produkcija je mnogo izbalansiranija i nekako bogatija u poredjenju sa produkcijom na prethodnim Huldre albumima.  Već nakon prvog slušanja je jasno da je bend uspeo da svoju verziju folk-metala postavi na veoma visoko mesto.  „Hindeham“ je prosto pisana za živo izvodjenje, i predstavlja jednu od onih pesama koju jednostavno morate da čujete da biste poverovali da postoji.  „Varulv“ ponovo ističe Nannine vokalne sposobnosti, jer u ovoj pesmi ona svoj glas izvija do polu-operatičnih visina, dok su gitare i bubnjevi prosto usijani.  „Underjordisk“ je jedna od bržih pesama na albumu i prosto vam odaje utisak pesme koju možete da slušate jedino dok jurcate na konju.  „Skifting“ počinje sa finom bas linijom, da bi postepeno izrasla u pravi gigant od pesme u kojoj se vešto menjaju raspoloženja.  „Faestemand“ je još jedna od pesama koja ističe nebeski kvalitet Nanninog glasa.  „Morke“ i „Tearing“ su teškaši, dok „Tearing“ počinje sa nekim gotovo retro feelingom relizovanim zvukom gitare i svojim hipnotičkim ritmom.  Negde oko polovine violina čini da se pesma razvije u pravi folk-hard hitter.
Na ovaj album se čekalo četiri godine i vredelo je svakog dana čekanja.  Album pokazuje zreliji bend.  Jasan zvuk je pokazatelj da i u metal muzici postoje veoma kvalitetni muzičari koji itekako znaju da prave dobre kombijacije.  Fantastičan muzički doživljaj.

Huldre – Tusmørke

pagan folk metal

Ocena: 9/10.

Recenziju napisao: Igor Živić

Huldre – Tusmørke

Band Huldre are hailing from Danmark and they are making beautiful lpagan-folk music about trolls, fairies, old nordic stories and legends...  They have staied faithfull to this formula on this album too.  Six band members that are very talented musitians have successfully incorporated in their musical expression many different musical instruments and techniques, and again, their music hasn't lost any meaning and sense.  They have enriched it by some typical Middle Age instruments and their stage appearances are very rich visual expirience, because on the stage they are goind out with full scenography.  Nanna Barsley is a person with very powerfull vocal and you will have a big problem of photographing her on the stage, because she is in constant movement, so is their music.  There are also Troel Dueholm on flute, Laura Beck on violine, on guitar and lauta is Lasse Olufson, bass player is Bjerne Kristiansen, and drums and other percussions are plaied by Jacob Lund.  Their shows are true showcase of how much energy and dedication they are doing what they do best with.  Faithfull to their Nordic tradition, they are not giving up on use of their native language (Danish and Norwegian), but when their music at once possess your senses, you will even not notice that there is a language barrier present. 
After very successful Intet Manneskabarn, the band has took part in many big gigs and has reaped great revards, including the third place on Wacken Mwetal Battle 2014.  This time, they have rolled up their sleeves and really decided to introduce themselves with an album that is very well thought out and executed, so it is very pleasent listening experience.  „Jagt“ is a sond that opens the album, and right from the beginning, you have a real explosion of nice and gentle flute melodies, violine and sharp guitar riffs and drumms that are exploding in your ears.  Nanna is souvereign in her vocal delivery.  Productionwise, this album succeded in accentuating all the finesses and details that make the music this bend is performing so special.  Production is much more ballanced and somehow richer in comparison with the production on their previous efforts.  Already after first listen it is clear that the band positioned their version of folk-metal on very high place.  „Hindeham“ is simply composed for live performance, and is one of those songs that you simply have to hear to believe how it sounds.  „Varulv“ again puts Nannas vocals in full front, because in this track she is goind with her voise co some full operatic hights, and guitars and drumms are simply burning fire.  „Underjordisk“ is one of faster tracks on the album and gives the impression of the song that you can listen only 'till you are charging on the back of a horse into battle.  „Skifting“ beginns with nice bass line, but it gradually grows into a real gigantic song with many mood changes.  „Faestemand“ is another track guided by a the heavenly qualityof Nannas vocals.  „Morke“ and „Tearing“ are both heavy weights, with the latter one beginning with some almost rethro feeling realized through the guitar sound and trully hypnotic rhythm.  Somewhere at the half of the song, the violine makes it into another folk-hard hitter.
Four years fans oh Huldre hava had to wait on this album, and it has been worthy of waiting.  The album is showing that behind it is a more mature band.   Its clear sound is a evidence that in metal music there are many high-quality musitians that know how to make good musical combination.  Fantastic musical experience.

Huldre – Tusmørke

pagan folk metal

Mark: 9/10.

Made by: Igor Živić

Intervju: Ricardo Brito (Urze de Lume)

Urze de Lume

Music from Iberian Peninsula has always attracted me. I love bands that come out of there. Such is the band Urze de Lume with whom we talked about music, future plans and something interesting.

1.  Why the name Urze de Lume? When and how was came that idea?

Ricardo Brito: Urze is a common bush that grows in the wild, and its been used since ancients times till nowadays for a lot of different purposes.
We also added the word Lume because during the foundation of the band one of us pictured someone with a piece of Urze burning in the dark. It also represents that our ancient legacy is still alive and burns in our hearts.

2. You define your music as dark folk, maybe ur- folk. What is the impact of that?

Ricardo Brito:  It’s funny, in the beggining we never tagged our band as dark folk, we simply felt that we did some kind of folk, a bit different from what more traditional folk bands were doing.
We never tryed to fit in any label, we just wanted to do new music, influenced by our ancestral culture. And in some way pay homage to those people and that era, were man and nature walked hand to hand. The former members come from regions in Portugal that still have a great connection to nature and were the old ways are still very present. Due to that concept and sound, a dutch friend from the famous blog Pagan Roots, named us as „Portuguese Dark Folk“. Since that time, we’ve been describing our band as dark folk. For us, we see our music as a mix between mistery, ocult, heritage and a need to return to our origins, and we do folk music in a very dark era... 

3. Album Caminhos da Urze was well received by the audience, which was to be expected. How are you satisfied with him?  

Ricardo Brito: Caminhos da Urze was very well recieved by our audience, and we are also very satisfied with that album, not only because we were able to explore new paths and new instrumentation, but also because we dove deep in our roots and we brought to life stories in shape of music that were been told to us trought time. It is a very important album in our career, because it opened doors for whatever we want to explore, inside and outside music. 

4. Often collaborate with other artists and publish Raiz Iberica compilation. What are your experiences of this cooperation? Will you continue to explore music with other musicians and artists that you'll be sharing the listeners?

Ricardo Brito: Yes its true, we have been colaborating with different artists through time. It’s always good to accept the chalenge of trying to enrich someones work with your art. It’s a great responsability. In the case of Raíz Ibérica, for us, it was the most important colaboration so far. When we recieved the call for this Iberian fellowship, we were completely outside from this whole music scene. We were on the extreme of west europe making our music. Raíz Ibérica really changed the Iberian musical scene, new colaborations had began, new oportunities to exchange knowlege and art forms, and most of all, the beggining of a great brotherwood of bands that share the same roots. The Iberian neo/dark/ur folk music scene is now closer and stronger. In the future we will surely continue to collaborate with other artists. Right now we are recording new material for a split with our brothers from Spain, Àrnica. 

5. What is the music for you ? In which way music define you?

Ricardo Brito: In Urze de Lume, music is just one form of telling stories, creating ambients and celebrating our past. Urze de Lume as a concept that in our oppinion transcends  music, we fell that in the future it can be something else besides music. 

6. Urze de Lume was part of a large celtiberian musical movement. As you progress in that? You're in the spring of this year, organized a music festival,  can you tell us something about it? 

Ricardo Brito: Since Raíz Ibérica we fell that our Iberian bonds are stronger, and through music, we are somehow bringing back the union we had in the past, and that can only be benefic for everyone. We came from Portugal, also known as Lusitania, and Lusitanians and Celtiberians shared a lot in the past. Maybe its our destiny to support each other in the present.
On the spring of 2016 OESTRYMNIS Festival de Arte Folk came to light. It was a dream where we and Trobadores Bar were working for some time. We manage to made it with a special help from our closer friends and it was a success. Many people came from diferent places, with diferent ages and interests, and most of them felt touched by what they found there. A pure and true celebration of our roots, in the most diverse art forms. 


7. Plans for future?

Ricardo Brito: The future will surely bring great news for us and for the people who follow Urze de Lume. Right now we are finishing the recordings for the Split with Àrnica. For the end of December we will also release a very special surprise. And in 2017 we will be organizing the second edition of OESTRYMNIS Festival de Arte Folk, and also start the recordings for the new album with Equilibrium Music.


8. A concert in Serbia, perhaps? 

Ricardo Brito:  It would be a great pleasure for us  to share our music in such a special country. Maybe some day we can have that oportunity!


9.  And in the end what will you told readers in Serbia?

Ricardo Brito: We would like to thank you all for the support, and ask you all to keep your roots alive. We would also like to thank Celtic Slavic Webzine Serbia for supporting underground, and support Urze de Lume.  Keep up the good work!