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ORPLID "Greifenherz" metal-invader.com

Time runs fast, it seems like yesterday when I first heard the debut album by Orplid and now they have reached to their fourth one, two and a half years after their “Sterbender Satyr” they are back with a more apocalyptic, sinister, dark and mysterious musical creation.

“Greifenherz” is probably the colder and heavier album released by Orplid, still based on those deep melodies that have been the band’s trademark through the years but this time there is a form of silent emotional violence hidden behind the music, a sort of violence that will drive the listener on his own crescendo with every new listening of the album. It is the light military approaching of many tunes trapped in this record, it is the passion of those narrations that fills the music, it is the voice of Sandra Fink that blesses once again the music of Orplid on “Totenesche” and “Traum Von Blashyrkh” songs, it is this desire that I have every time the record is finished, to listen again… all those features make me write about this strange “emotional violence” creeping around the music.

Lyrics of Ulwe Nolte are once again the main spiritual child of Orplid apart the music, but there are other people who offer their written gifts in forms of poems to fill the music, Frank Wedekind’s “Der Anarchist” and Rolf Schilling’s “Luzifer” and “ “Gesang An Den Horusfalken” are the poetic gifts in this album.

Focused into more specific songs I would point Falken Eid I & II as the most beautiful introduction and epilogue I have heard in an album since ages, “Luzifer” is one of those cold military tunes of the album and yes if you are clever enough to understand it you got the point totally correct: “Traum Von Blashyrkh” is dedicated to Norwegian Black Metallers Immortal –well it seems that a wide range of our roots is still hidden in the dark ages of Norway, all hail-. Well those are my favorites, I will let you to discover the rest by listening and not reading… you still got three untitled pieces of music (…) to drive you into to mystery and some other cold but attractive songs offered you by Orplid in this magnificent album.

ORPLID "Greifenherz" metalstorm.ee

Prophecy is one of those labels which can give you really original discoveries. I've never heard anything about Orplid before this year but these German veterans of the Neo-Folk scene are famous for what they do and I'm quite sure that their fans were awaiting with a lot of hopes their new production "Greifenherz" (Griffin heart). Orplid is a special band and definitely, you really have to like their music style to enjoy this release but if you're looking for good experimental Neo-Folk, I think that you'll like this new album!

In the past, Oprlid used to be a classic Neo Folk band which used to play its songs with piano, acoustic guitars etc. Lately, the band has chosen to change its sonority and even if they're still into Neo-Folk business, they're a lot more experimental and use a lot more the keyboards and some electronic sounds. Definitely it sounds different because it's a bit electronic and really modern (something which is weird for something "Folk"). On a side it can be really disturbing for someone who is not into experimental music because it's a bit repetitive, extremely minimalist but also really hypnotic. If you have a look at a song like "Myrmidonenklage", you'll be able to see that Orplid can play something really Epic with a great melody and a great chorus but all in all this is also really simple and I don't know how and why, this is really elaborate in the end.

The lyrics are in German so if you cannot stand German vocals it should be really problematic for you. It's a bit weird that's right but on the other hand it fits perfectly to the cold modern atmosphere of the album. The production of "Greifenherz" is really good and actually the only problem of this release is that it's something for the fans only. I doubt that someone who is into complex music will enjoy this release, this is just too minimalist too elitist to be listened by a lot of people. But hey if you like weird stuff, you'll maybe like "Greifenherz" after all!

"Greifenherz" features good songs in the genre so if you like the previous releases of the German combo you'll probably like this album. Remember however that it's not easy of access and that you have to like "Indus" sounds to enjoy this release. Have a look at it, I think that "Greifenherz" is one of those album which can be fully enjoyed or totally hated so just try it and you'll see in which camp you'll be!

ORPLID "Greifenherz" metalchroniques.fr

Disons le sans ambages ni faux semblants, Prophecy Productions n’est pas un label sclérosé par les carcans stylistiques Métal ou par l’appât du gain engendrant chez certains de leurs concurrents une course aux groupes dits établis, plus garants de retours sur avance. En clair; Prophecy est novateur, hors des sentiers battus, risque tout, et une source sans fin à la découverte de talents hors du commun … allant de Stille Oppror (cf. l’excellente chronique de mon confère Shéol) aux italiens de Klimt 1918 pour ne citer qu’eux. Un panel, ou plutôt un véritable vivier de diversité dont l’unicité hautement appréciable n’est pas l’unique atout, loin s’en faut…

Orplid, par exemple est le concept solo de l’allemand Franck Machau qui réalise toutes les plages de ce Greifenherz. Un kaléidoscope de samples, claviers, guitares électriques et acoustiques agrémentent ainsi sur des tempos lents, des mélodies aux beautés magistrales, épiques, progressives, emphatiques et martiales. Un superbe travail de compositions ciselées et diversifiées, sombres et froides, tel « Schwertgesang » aux atmosphères brumeuses et évanescentes. Le chant en allemand, clair avec un soupçon de grain guttural, ajoute encore à l’ensemble une touche envoutante et poignante, la symbiose avec Uwe Nolte, auteur des lyrics, étant totale. Il en résulte une dimension saisissante et foncièrement captivante ou l’on n’est guère surpris d’apprendre que certaines plages mettent en musique des textes de poètes comme Frank Wedekind « Der Anarchist » et Rolf Schilling « Luzifer », « Gesang An Den Horusfalken ».

On pourrait craindre que ce dark ambiant doomesque ne bascule dans le côté léthargique ou ennuyeux typique à ce genre de compositions ; mais il n’en est rien bien au contraire. Chaque titre apporte son lot de surprises évitant toute monotonie ou uniformité. Ainsi, par exemple, « Myrmidonenklage » au petit thème « Xylophone » opposé à une rythmique saccadée, lourde, est saupoudré de touches pianos, ou bien encore « Totenesche » et ses claviers volatiles et son ton mortuaire, est de plus agrémenté d’un chant féminin satanique à la Nina Hagen. La tracklist regorge ainsi de découvertes à apprécier au gré de l’assimilation auditive de ce « Greifenherz », dont l’une des plus agréables est celle du timbre de voix de Sandra Fink. Claires, cristallines, limpides et pures, ses vocalises confèrent aux mélodies nostalgiques et froides proposées, une facette complainte surréaliste.

Orplid œuvre en marge de la planète Métal, dans une constellation à mi-chemin entre les « Black hole » et les pyramides de Gizeh. Un univers hautement original et appréciable ou l’esthétisme et l’exacerbation des sens, l’invitation au voyage et à la rêverie, sont les mots d’ordres. Délectez-vous de ce monde parallèle, vous ne le regretterez en aucun cas …

ORPLID "Sterbender Satyr" heathenharvest.com

Orplid has established a wide audience amidst neofolk music fans over the last nine years of their participation the neofolk music genre. Their 1997 debut album “Orplid” remains a fundamental and defining album for neofolk fans nearly ten years after its production. Though Orplid has delved deeply into acoustic based folk and neoclassical compositions the band has always retained their creative right to explore new styles and each member of the band has continued to pursue separate personal musical interests that bare little resemblance to their activities as Orplid.

The bands roving musical interest finally come to bare upon their music in Orplid’s latest offering “Sterbender Satyr.” Orplid has been attempting to prepare their fans for the new album in recent news announcements which have described the new album as a departure from the bands signature sound. Orplid has always remained committed to growing and exploring music as a means to communicate their vision and “Sterbender Satyr” is the bands first attempt at realizing the music Orplid in a form otherwise unfamiliar to established fans.

“Sterbender Satyr” sees Orplid expanding the influence of their music to include more contemporary influences that can be felt in the bands use of minimal electronics and drum machines which harkens back to the dark wave music scene of the 1980’s. Though Orplid has opened their music to modern instrumentation and influences the bands signature use of acoustic instrumentation remains a strong point within the new compositions with strong neoclassical and some folk impressions still apparent within the music.

One aspect of the band that remains true to previous albums is Orplid’s dedication to a Eurocentric literature, poetry, and refined music deliverance. Though the band has steered into new musical terrain they have retained their commitment to quality and originality and have managed to successfully produce a completely original album that shares as little resemblance to other artists within the genre as it does to Orplid’s previous albums.

My first impressions of “Sterbender Satyr” were shadowed by previous experience of Orplid’s previous neoclassical and neofolk productions and it took me several listens before those comparisons dissipating allowing the new sound of the band to filter through. The new sound of Orplid though drastically contemporary and ethereal still manages to capture delicate threads of emotion with the greatest of finesse. Gone are the bombastic exaltations and the complex densely populated instrumental grandeur that defined previous albums. In their place comes sparse instrumentation that opens to reflective and emotive moments defined by a casual relaxation that seems to have grown from a place of maturation.

The previously gushed passions of the band have been tamed and now present themselves in sensual compositions that demand a level of maturity from the listner much like the early music of O Paradis or Tenhi. Crystalline acoustic guitar leads many tracks while tepid orchestral strings gently breathe life into others. Minimal beats and simple rhythmic arrangements grace much of the “Sterbender Satyr” while the use of simplistic synthesized sounds create a general contemporary ambience that can be felt throughout the album. German lyricism is the standard throughout the album with many songs inspired by classic literature with lyrics written by Renaissance man Uwe Nolte.

“Sterbender Satyr” begins with the opening song “Der Letzte Ikaride.” “Der Letzte Ikaride” begins with a cold atmosphere filled with random pattering sounds that sound as if someone dropped a live fish down a ventilation shaft. Chimes begin playing along with an orchestral sample that quickly overtakes the song. The orchestral sample is short and ends quickly as organ and chimes continue now accompanied by male vocals sung in German. The organ and chimes effectively reconstruct the atmosphere to one of swelling anticipation as the male vocalist sings with calm determined emotion across the music.

The music elevates in smooth steps rising gently towards the horizon only to gently sigh in a brief retreat before rising once again. The lyrics climax unexpectedly and a short muted orchestral burst breaks apart the ambience of the organ and chimes returning the song to the introductory cold atmosphere before gently fading. Though the music acts as a sufficient introduction though the lyrics being sung exclusively in German leave the non German speakers amongst us at a bit of loss.

Orplid has never chosen to sing in English preferring German, Latin and virtually any other language to English so this is not a side swiping surprise for familiar fans but it none the less leaves many of standing outside longingly gazing in.

Track three titled “Die Seherin” features a collaboration between Orplid and Leipzig based vocalist Sandra Fink. “Die Seherin” is a musical translation of Oda Schaefer´s poem “Die Seherin.” “Die Seherin” comes as much as a surprise as the rest of the songs on the album though it does stand apart from its fellow compositions in terms of style and tone. The song begins with waves of string orchestration accompanied by cold electronics that expand alongside the rising waves of orchestration. The waves steadily rise only to crest and expire before being replaced by the next rising note.

The music is slightly dark with a sense of building drama. Screaming voices begin to shout behind the music as a Sandra Fink begins her stint with a dramatic and sensual spoken word recital. Sandra’s pronunciation and inflection recalls the finer moments of The Moon Lay Hidden beneath A Cloud as she summons a controlled feminine ferocity that is raw and elegant at once.

The music remains anchored in waves of orchestration with the accompaniment of rhythmic drums and sparse percussion. Various voices weave in and out of the music sometimes moaning, sometimes wickedly screaming. Sandra’s unique and captivating vocals are a true delight as her voice commands the stage with articulate vocals that rest easily amidst the dramatic waves of orchestration, acoustic guitar and tribal drumming. Images of a pre WWII stage performance in Berlin kept crawling through my mind while listening to this eclectic offering.

“Erster Frost” is the sixth offering on “Sterbender Satyr” and it illustrates the bands new acoustic / electro approach to composition. “Erster Frost” begins with stereo electronic bleeps that snap in and out of the speakers evanescently. The simple electronics create a cold pop rhythm that is inviting yet remote. Acoustic guitar and drums begin playing across the electronics creating an unlikely and unexpected symbiosis of acoustic and electronic instrumentation. The guitar enters the song adding warmth and humanity to the less soulful electronics.

The combined sounds fit tightly together forming a harmony that feels contemporary as if someone invited a neofolk band for a tailored performance at a metropolitan modern art facility. Male vocals sing with confidence and comforting masculinity across the music grounding the song with a familiar voice from Orplid. The singer’s voice feels at home within the tapestry of the instrumentation and the listner has little left to question as Orplid proves their effectiveness regardless of what musical palate they choose. Part way through the song electric guitar and piano join the composition with the piano delivering brief cresting notes while the guitar unleashes expanding chords that shimmer across the composition.

After a couple of rounds drums like rolling thunder sound out across the track transforming the mood and shifting the tone of the song. Glassy shrill electronics twist and gyrate between drum rolls before being subdued by the primary acoustic guitar and drums once more. The vocals remain dramatic and sensitive granting the music an additional infusion of heartfelt expression. Once again Orplid’s musical prowess shines forth through every note as these masters create an alluring and authentic song capable of captivating even the most reluctant of converts.

Orplid have achieved an album of contemporary ethereal electro / folk music that is every bit as sensitive and authentic as their earlier exclusive neofolk and neoclassical offerings. Open minded Orplid fans will find at the heart of Orplid’s new sound the same conviction and passion that has defined the bands previous albums. Uwe Nolte and Frank Machau have created a mature and graceful offering that brings new life to Orplid keeping the bands contribution to post industrial relevant and innovative. Fans of Orplid are encouraged not to be deterred by the bands new musical explorations and curious newcomers are encouraged to discover something new that is guaranteed to infiltrate the heart and permeate the spirit.

BARDITUS "Die letzten Goten" heathenharvest.com

Barditus is a new epic neofolk / neoclassical project formed by Uwe Nolte of Orplid fame and co conspirator Andreas Arndt. These two phenomenal musicians have paired together to create the monumental barditus. barditus recently debuted their first album titled “Die Letzten Goten” in the neofolk music arena. I am a committed listener to neofolk music and I pride myself on discovering new and upcoming artists that are worthy to share with the Heathen Harvest audience. Trust me when I say that if you are a neoflk music fan you must secure a copy of this album.

The conception of “Die Letzten Goten” is based upon a historical battle fought between the Byzantium Eastern Roman Empire and the Ostrogoths. Though this battle was fought in a time long forgotten by many, the year 554 to more exact, the pain and drama of this conflict is very alive in the minds of those familiar with ancient history. The most dramatic element of this particular historical fight has to be the inequality of numbers that existed between the two opponents and the rather unusual history of the victorious general. Narses a 75 year old castrated eunuch who took control of the Roman Empire after several successful military campaigns against “barbarians” or heathen folk is a lead character in this drama. In 553 Narses took his war to the Ostrogoths once more when he marched his army upon Cumae and set siege to the city.

Responding to this threat Teia the last king of the Ostrogoths marched his army into battle to confront Narses who had proven himself to be a bane upon the Ostrogoths in earlier conflicts one of which cost the Ostrogoths their previous king. Unbeknownst to Teia Narses was aware of his advancement and set up an ambush in October of 553. Narses ambushed Teia at Mons Lactarius in Campania , near Mt. Vesuvius in Italy. The battle lasted two days, and Teia was killed in the fighting. The Ostrogoths power in Italy was eliminated, but Narses allowed the few survivors to return to their homes as subjects of the empire. Thus the heathen peoples of the Ostrogoths were laid waste.

barditus has taken this rich tale of ancient combat and transformed it into an epic musical presentation that fully captures the drama and loss of this historical battle. barditus's use of the tale of the Battle of Mons Lactarius illustrates their willingness to investigate history in order to cultivate relevant and captivating subject matter to use as a theme for their musical composition. This extra effort pays off immensely by means of an album that stands on firm ground and offers the listener much more than a collection of neo romantic poetry.

Unfortunately I know very little German and I was unable to acquire sufficient translations of the text to warrant any commentary. One note I was able to come upon while conducting research is that each song has lyrics based upon the writings of one of the following German writers G. Brincken, F. Dahn, J. Eichendorff, and Ernst.

“Die Letzten Goten” begins with the introductory track titled “Holmgang.” “Holmgang” begins with a strong classical string arrangement and audacious horns that blare forth a triumphant tune. Drums join in briefly and a male choir element is injected while though the strings remain the focus of the song. After a brief introduction a violin joins the fray with a rather lively yet serious tone and the sounds of steel meeting steel in the clash of battle can be heard. The horns and choir retreat only to pick up quickly there after. “Holmgang” arouses the spirit with feelings of drama and immediacy that presses upon the listener igniting the emotions.

“Klage (Complaint!)” is the second track on “Die Letzten Goten” and it takes the music in a very different direction. ”Klage” begins with the sparse instrumentation of drums and guitar. A strong male voice immediately joins the fray adding stellar vocals that inspire emotion that is equal to that inspired by the crystalline guitars and drum. Soon strings and flute join the fray taking the song forward in composition with grace and skill. Half way through a snare drum accents the music and the single male voice is joined by backing male vocals. It is not long before the heralding sound of the horns is taken up once again. “Klage (Complaint!)” easily captures the imagination and emotions of the listener with authentic music that is deeply epic and emotional engaging.

The third song titled “Die Letzten Goten” begins with distant sound of a war horn calling in the night. A lone drum pounds a rather lamenting beat as a combo of male and female vocalists sing a sad and mournful song. Drums, strings, and horn are utilized to emphasis a sense of remembrance and honor. The music moves slowly and deliberately raising slightly in the middle of the song in an anthem like thrust that accents the glory of the remembered. As in previous songs the singing easily matches the effectiveness of the music in stirring the emotions and captivating the listener into the musical narrative. Upon listening to “Die Letzten Goten” you feel nestled amongst folk remembering their fallen kin with song.

The fourth song is titled Herentod (Death) 1919. The mournful amblings of the last song are abandoned as strings are played low and horns blare out of the silence. A distinct voice graces the music singing with a tad bit of angst. The emotion is clearly one of contained anger directed towards honor. Strings and horns are brilliantly culled into an anthem that is unparallel in quality. An additional voice is brought to bear upon the music lending contrast and even more depth to the already emotion laden presentation. Death 1919 could be one of the best neofolk songs ever produced. Restrained and elegant it has no flaws.

The final composition is titled “Gehornter Freund.” “Gehornter Freund” begins with the sound of wind blowing and the ever inspiring sound of timber wolves howling in the inky black night. A rather unique almost shamanistic voice joins the wolves backed by drums and percussion. The vocal delivery and percussion invoke an ancient European ritual held under the bright moon. Drastically different from previous songs barditus makes a definitive statement that their music is not to be pigeon holed. “Gehörnter Freund” is a rather risky venture given that it departs from the sound of previous songs.

With this said it is as an accomplishment unto itself. I applaud the bands innovation and talent at bringing distinctly different songs together so artfully. At one point the music quickens and the voice becomes angry and very expressive. Singing becomes near shouting and emotions are released with full fury. While listening I envisioned a shamanistic figure calling down a curse upon his enemies filled with rage and indignation while he dances madly around a blazing fire. Who knows what visions “Gehornter Freund” will lead you to discover.

Barditus has been playing so much in my stereo at home and in my van that I fear I will burn out the album before the band can produce another one. If I have anything negative to say it would simply be that I wish barditus had made the album epic in length as well as vision. By the time the fifth song wraps up and reality takes control of your mind and emotions once again you are left yearning for more. I again recommend that you visit the Noltex website and arrange for a copy of this brilliant album to find its way into your hands. Follow my advice and you will be richly rewarded. The packaging is worth noting as well. The CD is encased in a digipack that is graced with mystical artwork that enhancing the theme and vision of the album. If you are Heathen of heart you will be mesmerized by the presentation as well as the music.

BARDITUS "Die letzten Goten" heathenharvest.com

Barditus is a new epic neofolk / neoclassical project formed by Uwe Nolte of Orplid fame and co conspirator Andreas Arndt. These two phenomenal musicians have paired together to create the monumental barditus. barditus recently debuted their first album titled “Die Letzten Goten” in the neofolk music arena. I am a committed listener to neofolk music and I pride myself on discovering new and upcoming artists that are worthy to share with the Heathen Harvest audience. Trust me when I say that if you are a neoflk music fan you must secure a copy of this album.

The conception of “Die Letzten Goten” is based upon a historical battle fought between the Byzantium Eastern Roman Empire and the Ostrogoths. Though this battle was fought in a time long forgotten by many, the year 554 to more exact, the pain and drama of this conflict is very alive in the minds of those familiar with ancient history. The most dramatic element of this particular historical fight has to be the inequality of numbers that existed between the two opponents and the rather unusual history of the victorious general. Narses a 75 year old castrated eunuch who took control of the Roman Empire after several successful military campaigns against “barbarians” or heathen folk is a lead character in this drama. In 553 Narses took his war to the Ostrogoths once more when he marched his army upon Cumae and set siege to the city.

Responding to this threat Teia the last king of the Ostrogoths marched his army into battle to confront Narses who had proven himself to be a bane upon the Ostrogoths in earlier conflicts one of which cost the Ostrogoths their previous king. Unbeknownst to Teia Narses was aware of his advancement and set up an ambush in October of 553. Narses ambushed Teia at Mons Lactarius in Campania , near Mt. Vesuvius in Italy. The battle lasted two days, and Teia was killed in the fighting. The Ostrogoths power in Italy was eliminated, but Narses allowed the few survivors to return to their homes as subjects of the empire. Thus the heathen peoples of the Ostrogoths were laid waste.

barditus has taken this rich tale of ancient combat and transformed it into an epic musical presentation that fully captures the drama and loss of this historical battle. barditus's use of the tale of the Battle of Mons Lactarius illustrates their willingness to investigate history in order to cultivate relevant and captivating subject matter to use as a theme for their musical composition. This extra effort pays off immensely by means of an album that stands on firm ground and offers the listener much more than a collection of neo romantic poetry.

Unfortunately I know very little German and I was unable to acquire sufficient translations of the text to warrant any commentary. One note I was able to come upon while conducting research is that each song has lyrics based upon the writings of one of the following German writers G. Brincken, F. Dahn, J. Eichendorff, and Ernst.

“Die Letzten Goten” begins with the introductory track titled “Holmgang.” “Holmgang” begins with a strong classical string arrangement and audacious horns that blare forth a triumphant tune. Drums join in briefly and a male choir element is injected while though the strings remain the focus of the song. After a brief introduction a violin joins the fray with a rather lively yet serious tone and the sounds of steel meeting steel in the clash of battle can be heard. The horns and choir retreat only to pick up quickly there after. “Holmgang” arouses the spirit with feelings of drama and immediacy that presses upon the listener igniting the emotions.

“Klage (Complaint!)” is the second track on “Die Letzten Goten” and it takes the music in a very different direction. ”Klage” begins with the sparse instrumentation of drums and guitar. A strong male voice immediately joins the fray adding stellar vocals that inspire emotion that is equal to that inspired by the crystalline guitars and drum. Soon strings and flute join the fray taking the song forward in composition with grace and skill. Half way through a snare drum accents the music and the single male voice is joined by backing male vocals. It is not long before the heralding sound of the horns is taken up once again. “Klage (Complaint!)” easily captures the imagination and emotions of the listener with authentic music that is deeply epic and emotional engaging.

The third song titled “Die Letzten Goten” begins with distant sound of a war horn calling in the night. A lone drum pounds a rather lamenting beat as a combo of male and female vocalists sing a sad and mournful song. Drums, strings, and horn are utilized to emphasis a sense of remembrance and honor. The music moves slowly and deliberately raising slightly in the middle of the song in an anthem like thrust that accents the glory of the remembered. As in previous songs the singing easily matches the effectiveness of the music in stirring the emotions and captivating the listener into the musical narrative. Upon listening to “Die Letzten Goten” you feel nestled amongst folk remembering their fallen kin with song.

The fourth song is titled Herentod (Death) 1919. The mournful amblings of the last song are abandoned as strings are played low and horns blare out of the silence. A distinct voice graces the music singing with a tad bit of angst. The emotion is clearly one of contained anger directed towards honor. Strings and horns are brilliantly culled into an anthem that is unparallel in quality. An additional voice is brought to bear upon the music lending contrast and even more depth to the already emotion laden presentation. Death 1919 could be one of the best neofolk songs ever produced. Restrained and elegant it has no flaws.

The final composition is titled “Gehornter Freund.” “Gehornter Freund” begins with the sound of wind blowing and the ever inspiring sound of timber wolves howling in the inky black night. A rather unique almost shamanistic voice joins the wolves backed by drums and percussion. The vocal delivery and percussion invoke an ancient European ritual held under the bright moon. Drastically different from previous songs barditus makes a definitive statement that their music is not to be pigeon holed. “Gehörnter Freund” is a rather risky venture given that it departs from the sound of previous songs.

With this said it is as an accomplishment unto itself. I applaud the bands innovation and talent at bringing distinctly different songs together so artfully. At one point the music quickens and the voice becomes angry and very expressive. Singing becomes near shouting and emotions are released with full fury. While listening I envisioned a shamanistic figure calling down a curse upon his enemies filled with rage and indignation while he dances madly around a blazing fire. Who knows what visions “Gehornter Freund” will lead you to discover.

Barditus has been playing so much in my stereo at home and in my van that I fear I will burn out the album before the band can produce another one. If I have anything negative to say it would simply be that I wish barditus had made the album epic in length as well as vision. By the time the fifth song wraps up and reality takes control of your mind and emotions once again you are left yearning for more. I again recommend that you visit the Noltex website and arrange for a copy of this brilliant album to find its way into your hands. Follow my advice and you will be richly rewarded. The packaging is worth noting as well. The CD is encased in a digipack that is graced with mystical artwork that enhancing the theme and vision of the album. If you are Heathen of heart you will be mesmerized by the presentation as well as the music.

EICHENDORFF "Liedersammlung" heathenharvest.com

Eichendorff – Liedersammlung is a new compilation compiled by Uwe Nolte of Orplid, Barditus, and Sonnentau. Eichendorff – Liedersammlung expands upon the general theme of Uwe’s work on the Noltex website and label by using the format of music to explore works of literature. Eichendorff – Liedersammlung is a conceptual compilation that explores the lyrical prose of Joseph Eichendorff. Joseph Eichendorff was a widely acclaimed writer of late Germanic romantic literature. Joseph Eichendorff’s lyrical poetry is the primary focus of Eichendorff – Liedersammlung as Joseph Eichendorff was widely celebrated for his ability to translate his feelings and impressions of nature, natural mysticism, and the German landscape into verse.

Eichendorff – Liedersammlung remembers the literary achievement of Eichendorff in an epic thirteen song CD compilation that spans more than fifty minutes of music. Drawing upon the resources of the largely German Neofolk and Neoclassical music genre Eichendorff – Liedersammlung expertly ties together the common thread of nature romanticism and mysticism that permeates both German romantic literature and the neofolk music genre. Such eminent artists as Sonnentau, Orplid, Forseti, Barditus, Sonne Hagal, and Waldteufel are joined by less familiar artists as Elisabeth Christiane Schonfeld, Ulrike Hirsch, Grunland, Karl Stulpner, and Edaphon. This conscious blending of established and emerging neofolk artists makes for a wonderful blend of familiar and new voices.

Pre WWII art and lifestyle movements that have been lost or forgotten by many persons in the modern world have heavily influenced many modern neofolk bands. Uwe Nolte has shown great insight in connecting the work of our ancestors with the modern art and music that reflects the values and sensibilities that they first brought to light at the turn of the twentieth century. Though many music listeners are captivated by the Eurocentric themes and nature mysticism that permeates the neofolk genre too few know that the these reflections and themes are often reflected in cultural and artistic movements that where lost with time and modernization.

Eichendorff – Liedersammlung begins with a contribution from Sonnentau titled “Wünschelrute.” As with the other contributions “Wunschelrute” is sung entirely in German and unfortunately the accompanying CD booklet does not offer English translations. Though the lyrics remain enshrouded in mystery for those of us who do not fluently speak or read German the songs nonetheless communicate a wealth of emotion and sentiment through the vocals and music. “Wunschelrute” begins with acoustic guitar, woodwinds, and slight percussion.

The ballad is delicate and subtle as it weaves a sad romantic spell graced with male vocals. The song opens to include string arrangements that are layered into the acoustic guitar and woodwind instrumentation. The wavering chords of the woodwind drift across the music and drive the song. The composition has a tentative feel as it winds its way along as if every note where laid out with the utmost purpose and each word was spoken with a silent devotion in an attempt to give voice to phenomena and feelings that escape language. The romanticism of Eichendorff’s verse is expertly captured and conveyed by Sonnentau.

Elisabeth Christiane Schonfeld contributes a hauntingly beautiful track titled “In der Fremde I.” “In der Fremde I” is a rather minimal composition that combines the voice of Elisabeth Schonfeld with piano, strings, cello and chimes. The track begins with a very sad serenade that features Elisabeth singing solo accompanied by delicate and somber piano playing. The emotional impression is one of hearing someone sing of a beauty and grandeur that has passed away and can now only be remembered. Elisabeth’s voice engenders the faded glory and remembrance as well as the sadness of its passing.

The piano is lovingly played as chords roll out effortlessly in waves supporting the narrative and Elisabeth’s voice. The cello enters the song very gently with little obtrusion adding a deeper sense of lamentation as its deep sighs grace the music. The strings accent a moment of longing as they cascade down and weave within the cello and piano. The instrumentation lulls then surges to meet Elisabeth’s voice once more. The song ends without notice wrapping up as softly as it began and leaving the listener to sit with the emotions evoked.

Track eight is one of my favorites and has drawn me back for several additional listening in a single playing of the CD. “Die Nachtblume” is the second contribution of Sonnentau and is one of the best female led neofolk songs I have ever heard. The song begins with cello and guitar. The cello plays deep sad chords while the guitar plays lively chords that shift and evolve rather rapidly. The combination is enchanting as the cello pulls at the deeper feelings of the listener and the guitar communicates a sense of hope and anticipation.

A female vocalist enters the song singing deeply emotional verse that touches the listeners heart. Her vocal control and voice are amazing as her voice weaves its way deep into your soul filling your imagination and heart with all the emotion that pushes her words forward. The spell is very effective. Violin enters the song adding contrast to the cello and guitar and the song blossoms like a fragrant hidden bloom.

The nectar drips from the bloom and the listener is left basking in awe-inspiring music. I cannot quite grasp the words to communicate the beauty of this music though I can tell you that is will enshroud your heart and bathe yoursoul in all the romanticism and mysticism that Eichendorff originally strove to communicate through his verse. Indeed, I am sure this song has reached him wherever he rests.

Track ten by Grunland titled “In der Fremde II” is also worth mentioning. Grunland contribute a wonderful track graced by yet another amazing female vocalist. The song begins with crystalline acoustic guitar that is joined by the haunting melody of a rustic sounding violin. The melody is distinctly ethnic sounding and imbues a sense of ages past is it plays its simple yet charming song. A male vocalist whispers lyrics that are buried deep within the music.

After a brief rendition, a strong female vocalist takes over the lyrics. Her voice is strong yet feminine and is imbued with a magical element that conveys deep emotion akin to gypsy music yet much sadder and very German. The songs strong ethnic sensibility evokes the far reaches of Romania or some other exotic and isolated European location where culture is still intact and the past flows freely into the present.

Also worth mentioning, is track eleven by Karl Stulpner titled “Zorn.” “Zorn” strays off the beaten path as it begins with strong drumming, acoustic guitar, and electric guitar. The electric guitar gives the music a modern feeling not visited by most of the previous artists though the rest of the music is rooted deeply in the neofolk genre. The acoustic guitar and heavy martial drums and snare drums invoke all the standard and much celebrated sensibilities of the neofolk genre. Karl’s voice is deep and rough as he sings with vigor. His voice communicates a sense of hope, courage and victory. Like an old storyteller reciting tales of heroism and pride, his voice really makes the song. The music and voice reminded me a bit of Barditus, which is a very positive association.

In fear of writing a terribly long review, I have to cease describing songs though this compilation inspires me to no end. Rarely does an album come along in which every song gets the blood flowing and ignites the spirit. I am particularly impressed with the number of female led songs and the quality of these compositions. Too often in the neofolk genre female led bands fall into a prescribed formula set by the heavenly voice music genre. Eichendorff does a fantastic job of highlighting some very accomplished female vocalists amidst their male peers.

Eichendorff – Liedersammlung comes highly recommended to all neofolk fans. This is not your typical neofolk compilation. You will not be burdened with a couple of new discoveries lodged into a vast array of already published songs. Every composition on Eichendorff was recorded and contributed for this release and you will not find these songs anywhere else. Do not miss this opportunity to hear some of your favorite artists perform alongside some amazing new musicians. Eichendorff was created and compiled with a lot of intention and reflection and you will be punishing yourself if you miss the opportunity to purchase this compilation!

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