First Aid Kit "Tender Offerings" (2018)

This four track EP has me thinking I must of missed something from Ruins released earlier this year. Perhaps I wasn't in the right frame of mind? Stay Gold is such a beautiful record, one of my all time greats, maybe it set my sights to high for the follow up. Before writing this blog I was convinced Id learn at least one of these four songs are covers because they are so striking and have a classic vibe about them. Turns out they are all B-Sides from the aforementioned Ruins and bar one or two tracks from that record Id say these songs a better than most of what I remember of it.

Firstly, I've Wanted You takes a minimal approach with its soft acoustic patterns and a nearly non existent baseline. It pulls all focus to the beautiful serine singing that I believe is Klara of the Soderberg sisters. Her chorus lyrics are sung with such striking emotion and sincerity of word that I was convinced it was a cover. The yawning distant organ and gentle piano keys chime in to keep the spell rolling as the duo start to harmonize and elevate and conclude what is a bare, naked and exposed song, its direction plays so true to the words of the song and its raw emotion.

 The title track works a denser instrumental build up. Its stronger organ presence leads to country tang guitar licks that play up its rooted vibes. Ugly has a similar performance to I've Wanted You, however the instruments gradually grow and its soft guitars and buried organ give into colorful eruptions of almost psychedelic stretches as its guitars give into that fray and spacial synths sparkle like stars in a clustered climax. Its quite the natural yet experimental edge to a song I did not expect but thoroughly enjoyed. More of this could lead somewhere interesting.

All That We Get may fall victim to being the least interesting, its a nice song, calm, soothing and soulful with a charming message of warmth and introspection yet it lacks a defining moment and the vocals don't reach previous plateaus. These are four very welcome songs. I especially liked the slight, almost missable use of electronics and the opening song is an instant classic. I will continue to follow this wonderful act.

Favorite Tracks: I've Wanted You, Ugly

Rating: 5/10

Myrkur "Myrkur" (2014)

Lastly for now we arrive at the roots of Amalie Bruun's musical endeavor, the debut, self titled EP which is surprisingly better than the full length M. It suffers the same entanglement of heavenly folkish sounds and beastly Black Metal but here the guitar work stands up a little stronger as the sways between dark and light are equally better despite a lack of flow. Unlike its predecessor which showed stark influences from the formation years of the genre, Myrkur's guitar aesthetics and riffs resemble a style far more akin to a band like Drudkh with harsh and thick tones that have a odd alluring indulgence.

As a purely Folk song, Frosne Vind shines like a beacon among the fog of dissonant aggression. Serine acoustic guitars washed in roomy reverberation paint an air of culture and meaning that her distant voice illuminates with a touch of divinity as the choral chant layers her voice blissfully. Its cut short as we are lunged into the hellfire of blast beasts and tremolo picking that highlights the records lack of cohesive direction or union between these two sounds she would go on to achieve with Mareridt. Her singing may be stunning but it is often cut short by these transitions.

When both Folk and Metal elements reside within singular songs the same rigidity occurs, Latvian Fegurð even has an odd bass heavy "gulp" noise as its beautiful, soft intro is cast to shadows in a sudden shift to snarling shredding. This records merit is in the interest both elements spark up as the aggressive side finds its moments of intrigue with atmospheric riffing. The problem, as to follow, is their contrast which is yet to find a middle ground beyond Amalie singing in her calming clean voice over shrill guitars on a couple of occasions. A reasonable start but as we know it will take another effort before they find what really works.

Favorite Tracks: Frosne Vind, Må Du Brænde I Helvede

Rating: 6/10

Myrkur "M" (2015)

Blown away by their fantastic sophomore record Mareridt I tracked back two years for their debut full length. Simply titled M, we hear ideas and darkly sounds closer to inception, rawer, rigidity in place and without the craft they would go on to display. At this point Bruun was writing alone and recording in the studio with session musicians who had little if no input on composition. It may not be the lone reason but we hear the music in a far more brittle form, the darkness, its uplifting light and rooted atmosphere of folk sounds play out in turns with obvious shifts and turns. Its tracks bleed into one experience as they barely delineate from one another on many fronts.

This initially made the record difficult to get into, its eruptions of snarly screams and harrowing demonic voices forcefully turned the pace of the music as blast beats and shrill guitars would descend on the listener, casting sections of heavenly singing and pagan instrumentation to the side. These three phases are often the focus of the music, her angelic voice, singing softly, gracing over the instruments from an illusive distance. The forcefully harsh and abrasive blasts of ugly Black Metal and the calls of ancestor through horns, violins, fiddles and a helping of atmospheric synth.

There are many moments where these three pillars overlap but often the transitions are rigid, obvious and in sequence. It feels very inspired by the blunt and bold Black Metal of the 90s yet shows the need for the craft, care and inspiration they go on to show in the next record. Initially I focused on this to much and didn't enjoy the record much but with repetition its familiarity let the vibe and mood of the record sink in, which despite some short comings it does has a similar tone to its predecessor... In places... Tracks like Mordet feel cut from the cloth of yesterdays sound of northern darkness but the record charm of swaying from the arms of darkness to the roots of heritage eventually takes over.

All in all M is a decent record that would have been better enjoyed first. The potential it shows feels weaker in retrospect but its ability to cast a spell and create a lasting atmosphere is strong. The sways from black to light and then to heathenish culture are fun and enjoyable. The crafts of subtly and persuasion are not yet with them but blunt the plunges into hell are fun and its gothic edge is charming. Although this may seem like the start their is a short EP beforehand too. I will check that out next.

Rating: 6/10

Myrkur "Mareridt" (2017)

There's always music to be discovered and this year at Download Festival I decided to wander over to the forth stage while grabbing some food and to my delight caught an unexpected amazing show by the Danish group Myrkur. A combination of furious Black Metal and angelic singing played right to my tune, I knew I would have to pick up a record and my first is their second.

Mareridt, Danish for nightmare, reveals so much more about their sound from the live experience, although it is probably a dimension to their sound your just not going to hear first time around at a show. The record however shows depth and emotion in abundance as the contrast between singer Amalie Bruun and her band goes beyond a simple concept and aesthetic, tapping deep into the folk sound of pagan cultural roots.

The record achieves a meditative, indulgent state just at its surface level alone. Steady, naturalistic songs let the light draw to Bruun's singing as she delves into soft angelic singing with accents of Scandinavian heritage, on De Tre Piker she goes all the way in with what could pass as on old hymn handed down through generations, stunning singing reminiscent of Lisa Gerrard. Behind her the music finds different temperaments with the Black Metal aspect of the music finding many intensities to approach from, occasional bursts of ugly, snarly spats of grimness fuel some darkness but more often than not, it rides on the uplifting gleam of awe inspired lead melodies, similar to the epic grandiose scale of an act like Saor. It mostly serves as an aesthetic for the theme.

As the distortion guitars and drumming compete for their moments they sway up again the persuasion of heathen sounds. Violins, harps, modern synths, organs and pianos grip firmly on the naturalistic experience that will have one smelling the outdoors air, feeling the breeze as it rustles through the leaves of tress. One can really feel the spiritual connection to the forgotten past when man was closer to mother nature. The swaying and competition between two sounds gives the album a healthy flow that finds an interesting middle moment on Funeral as Chelsea Wolfe lends her voice to an abyssal, slow, crushing instrumental that could of easily been on her own record. It highlights some similarities but more so adds to the diverse pallet these songs have with one another.

On first listen I felt the Black Metal aspect to be rather rigid and stiff in its volatile phases. I could hear a lot of 90s abrasiveness at work but with each listen as the overall theme became clearer its chemistry in relation to Bruun's voice and the other cultural sounds gave it a far more organic and Post feel. Perceptions change and I am finding myself loving this record more and more with each listen. Its moods, feelings and vision run deep, the music comes to life with vivid visuals of dark and ancient times filled with pagan mysticism.

There is a very personal and mischievous period in the outro track Bornehjem, a childish Golem alike voice talks to its demons, leaving me to believe there is most likely a much more personal theme running through the lyrics, of which I haven't read, perhaps that is something I should make the effort to do. This band will undoubtedly be one of my favorite new discoveries this year and luckily there is their debut record to get into next.

Favorite Tracks: The Serpent, Elleskudt, De Tre Piker, Funeral, Ulvinde

Rating: 8/10

Winterfylleth "The Hallowing Of Heirdom" (2018)

Hailing from the city of Manchester, Winterfylleth have harvested a reputation as being one of English Black Metal's more exciting bands, maybe even the UK's Metal scene in general as they have made a name for themselves, embracing the lands heritage with their music. I'm somewhat ignorant to them, having only briefly listened to some of their previous records. I thought I'd give this new one try and It was not what I was expected for they have done what many bands before have done and entirely removed all of the Metal from their sound, leaving them to explore their influences and inspirations with lush instrumentation of acoustic, cultural instruments that echo visions of eras gone by.

The Hallowing Of Heirdom is a transformative listen, its earthly, mellow choral chants underline and uplift these songs with its heathen roots as worrisome stringed instruments sing the blues and hardships of rural life. With serine acoustic guitars and an inspired composition of cultural instrumentation the atmosphere becomes vivid with the mild and moody weather of England's restless shores. Across these twelve songs we travel through different temperaments, exploring imagination as these beautiful and quaint melodies inspire visions of natural beauty and the mythic culture of simpler times ravaged by the cruelty of mother natures embrace.

The opening track The Shepherd makes a remarkable entrance as the albums most gorgeous and charming song, it is also the records most involved and "complex" as we explore this world through songs that mostly become somewhat stripped back in comparison, perhaps leaning on the acoustic guitar or singular instruments. It feels fitting of the albums vision to not always lean to the most engrossing moments where the music essentially crescendos as all the voices line up together but through the record it finds its way to these peaks a fair few times.

Although a wonderfully indulgent experience it is not without its lulls, moments where it drifts off into itself however that feels unavoidable given the select handful of instruments that make up this clear and potent sound. Initially I was in awe of its beauty but then it hit me, I have visited this pagan realm before. The Nymph sparked my memory, its composition very akin to Agalloch's The White record. Both are wonderful listens but this one stretches itself a little thin in comparison however that's no reason not to enjoy this wonderfully scenic and soulful music.

Favorite Tracks: The Shepherd, Elder Mother, The Nymph

Rating: 7/10

Johnny Cash "American Recordings" (1994)

Knowing the reverence and notoriety of Johnny Cash made approaching this post a little daunting. With a career spanning fifty years across six decades and over ninety albums produced, there is an abundance to be said about his music that critics and enthusiasts alike will be talking about for time to come. Ive only heard The Ring Of Fire and Walk The Line before going into this record. American Recordings intrigued me greatly for two reasons. Firstly It was produced by Rick Rubin who had made a name himself in Metal and Hip Hop, working with the likes of iconic names LL Cool J, Run DMC, Danzig and Slayer. Secondly at this point in time Cash was a broken man, his career in tethers and with Ruben he formed a close friendship that would rekindle his musical fire and restore parts of his life and happiness.

With just a voice and his guitar, Cash can burden you with the depths of his struggle. His deep, baritone voice has the texture of times scars, a weight he holds on his shoulders felt through the catharsis of his expressions. With a deep, soft and alluring voice his hurt soothes with its release as the heavy subjects of life's regrets and struggles are caught in a memorizing bubble that is Cash's heart felt sincerity. Its far from gloomy, as Johnny works through his inner demons, one can feel the redemption as he comes to terms with events transpiring through his poetic lyrics. Its an intense experience that can suck one into the grasp of its simplicity, the acoustic guitar often feeling entirely irrelevant in the shadow of Cash's iconic voice, with exception to a few songs like Thirteen, where the strumming of dingy chords feels like the tone setter.

Going into the record I was expecting some twang and yee-haw! Known as a Country artist, I have to say this is far more personal and Folk like however one track, Tennessee Stud, greatly amuses me for its praise of a regional horse. The real story in the song is overshadowed behind the enthusiastic crowd, cheering all mentions of the horse. This album captures a man coming to terms with many things and turning much of it around, which is parallel to the critical and commercial response, which makes a lot of sense If you think about it. Ruben's minimalist approach to production seems a perfect fit for Cash's needs, however knowledge of their strong friendship makes me think the revival of this man goes far beyond the production we can hear on this fine record.

Favorite Tracks: Delia's Gone, The Beast In Me, Thirteen, Like A Soldier

Rating: 7/10

William Patrick Corgan "Ogilala" (2017)

In absence of a new Smashing Pumpkins record we have a solo project by Billy Corgan that is essentially the same musical source stripped of percussion and distortion guitars. Ogilala is a folksy acoustic rock record with a lush touch of dazzle and spark. The bustle of acoustic chord strumming and Corgan's passionate voice is enriched by piano keys, strings, organs and even light synths akin to the ones heard on old Pumpkins records. Gorgeous production acoustics give it a earnest, inviting tone but after four good songs at the opening the album lulls into a spell of mediocrity once its best ideas are exhausted.

My biggest qualm with this record is most noticeably absent in my favorite track, "Aeronaut", a toned down vibe alike to The Verve's classic Bitter Sweet Symphony. The track drops the acoustic guitars for a string, voice and piano triplet that feels more comfortable with out the busying strumming of distant chords. The acoustic guitar is film and limp, its chords underwhelming and quiet, the sound of the pick flexing on the strings cast a shadow on the musical make up and empowers a rhythm that's one dimensional and not required.

With that In mind the failings of the record become sorely obvious, the strings or organs lay soft backings to these chord arrangements and the inclusion of pianos often just accent particular notes in the chord. The music revolves around an instrument that's just not working and despite Corgan's sincere singing the songs fall into the flat and narrow of simple compositions. With a lack of depth in that department, repeated listens yield little reward. Its unfortunate but you could possibly chalk this down to a distortion guitarists approach to acoustic not coming off well as many of these songs feel a step away from being Pumpkins songs with blaring guitars! An honest effort but it didn't work for my ears.

Favorite Track: Aeronaut

Rating: 4/10

Soley "We Sink" (2011)

Icelandic multi-instrumentalist and songwriter Soley has created a rather beautiful piece of memorable melancholy with her debut "We Sink". The albums theme has been stirring deep in my mind these past few months, its cutesy childlike innocence takes a dreamy, wandering stroll towards harm as playful curiosity leads to a dark haunting with a handful of the albums songs. It alone is not the only charm, where danger is not near a stream of soothing delicate emotion ripples from her sweet and graceful voice, singing humble, personal tales over folksy acoustic guitars and warm, golden piano notes. With gentle instruments and guileless percussion, aesthetics take a powerful roll in setting the tone as natural ambiences, fidelity and microphone choices characterize the instruments meaning in the music.

"Bad Dream" is the albums first turn to shadows, the microphone and its use of reverberation gives the song an early recording nostalgia that heavily emphasis the aesthetic subtlety found steering key instruments in several songs throughout. "Kill That Clown" echos an innocence passing through black flames as a sublime solo piano orchestrates a dark, harrowing presence for Soley's voice to wander by, unaware of whats lurking in the shadows. Another dark track "About Your Funeral" has a fantastic example of the childish innocence infecting the rhythm with playful beat boxed rhythm. This can also be heard on the opener "I'll drown" with its percussion made of knocks and taps like the smashing of toys for instinctive, primal sounds.

These elements come together for entrancing songs that captivate attention with their emotional connections to wondrous and personal places that flirt with darkness in moments. The lyrics constantly teeter on pain and the contrast between its inviting nature and apparently darker meanings create an air of mystery that illuminates an ambiguity lurking in every moment of this record. Its without a weak point, every song goes somewhere and a couple really do strike a nerve in their element. This is a stunning debut that will only entice me for more now.

Favorite Tracks: I'll Drown, Blue Leaves, Kill That Clown, About Your Funeral, Theater Island

Rating: 8/10

Ulver "Kveldsjanger" (1996)

I've always been aware of Ulver, never quite found my way into his eclectic collection of records however the recent release of "The Assassination Of Julies Caesar" has cracked open the door. "Kveldsjanger" caught my ear as I was skimming through albums. Its part of the "Black Metal Trilogy" yet has not a drip of anything Metal in sight. Ulver's first record had both Black Metal and Norwegian Folk music woven into one, the following two records would split the styles and so this release is thirty five minutes of enchanting, mythic, Norse Folk to sink into.

Serine acoustic guitars, enchanting flutes, a deep brooding cello and absorbing vocals paint a wonderfully primitive and spiritual experience, capturing the spell bounding beauty of the cold natural terrain. Its wooden acoustics have a natural chill about them, very earthly. They strum out layered arrangements that sway their linage, ever changing, there twang a touch Spanish in moments but rarely that temperate. Garm's voice has a few intensities, sometimes loud and burly at the forefront, performing a folk tale, other times hes heard holding notes and words in the distance like a hymn behind the guitars. It always brings a spiritual humanistic level to the music and puts a soul within the landscape.

The nuances of detail are almost irrelevant in how vividly the vision of times gone by come across. The vast Nordic countryside is brought to life with a rural honesty, the mood doesn't steer into paganism, darkness or some exaggeration. It has a grounded authenticity that lets your imagination set the scene. A slight streak of sorrow runs through some tracks but nothing ever feels obvious, Its mood and tone command the setting with compositions that feel like old Folk songs have been fleshed out and expanded upon. "Hiertets Vee" steps of the path with the sound of vicious whirling winds and the end of the song, lonely flutes are heard through it, painting visions of travelers hunkering down to see out a storm. Its just a single moment that's a little more cinematic than musical and it fits right in. This record is a wonderful piece of folk art, a go to record for that atmosphere of the ancient past.

Rating: 8/10

Old Corpse Road "Of Campfires And Evening Mists" (2016)

If ever Ive heard a band that captures the spirit of early Cradle Of Filth it is Old Corpse Road, who I discovered during Bloodstock festival back in 2014. Hailing from northern England, they invigorate that early extreme gothic sound once erroneously coined "British Black Metal" when Cradle were still wearing corpse paint and drawing links with the Norwegian scene. It is a rather formulaic similarity where shrill, piercing screams accompany guttural growls and burly spoken word over the extreme metallic music, aggressive, visual and drenched in symphonic keyboards. As the title suggests its a romanticized vision of British folklore and natural beauty expressed through the the typical tropes of such a sound, however the band execute it all with a touch of class a richer approach to the less Metal oriented moments.

With four ten minute plus epics the eight track record is quite a meal, clocking in at sixty four minutes it rarely lets up with a dull moment to pass. The songs are equally expansive and across the record a lot of variety is to be found, sometimes the guitars lead with groove and aggression, in other moments they let up for the synths to build atmosphere and furthermore drop out entirely for many symphonic or acoustic passageways enriching the musics scope. With all of the members pitching in on the vocal front a barrage of styles become possible as the ever progressing instrumentals are narrated by many voices. For all the variety on hand, these songs have structure and direction, they cohesively unfold, often from driving guitar riffs and gnarly blast beats into expansive atmospheres and soaring moments that certainly deliver.

All of the songs are dense and well fleshed out with a lot going on at once for your ears to pick through. The production is reasonable, the instruments have nice tones, the synths are stark and loud and at time it feels a little muddy with so much going on but it holds together well for the music to shine and shine it does. Each song has its own merit and one of my favorite aspects are the folklore and mythological themes that resonate superbly alongside the gothic vibes. Solid record that I can't falter, excellent for the right, specific mood, best enjoyed in the winds of cold English nights.

Favorite Track: Herne Of Windsor Forest

Rating: 7/10

Regina Spektor "Remember Us To Life" (2016)

Its been quite some time since Ive checked in with Regina Spektor and its fantastic to hear she is still doing her thing. Born in Russia and raised in the Bronx, she was taught classical piano at a young age and with a fearless spirit for her music she emerged from local clubs and bars to take her music to the mainstream. With a soft, comfy and caring voice her quirky expressive style finds balance in wisdom and meaning with many of her lyrics providing warm insights as well as a sprinkle of humor in her turns of phrase.

On this record Regina has no shortage of inspiration, her words and keys are full of life and with a richer set of backing instruments they work splendidly on select songs to elevate the songs where perhaps the voice and piano may have been limited. "Remember Us To Life" has grander theatrics with the broad strings sections and lively drums kicking songs up a notch where they may but ultimately it is Regina who is the light of the show and she has many tales to tell.

The track listening is thick with songs that make themselves known, whether diving into her emotions, telling tales or remarking on observations, each song gets its point across so charming and eloquently. With heart warming highs on "The Visit" she sings of her re connection with and old friend from times gone by, so humble and genuine. "Obsolete" captivates me with its both haunting and beautiful pianos as Regina drifts like a spirit towards the void, singing of getting old and becoming less capable, a remarkable song. Between the introspection Regina makes social observations in her quirky nature, "What a strange world we live in, where the good are damned and the wicked forgiven" the music breaks with the words for a dose of sanity in an otherwise mischievous and crooked song where pharmacists and lawyers walk side by side.

I could go on, as I said every track is vividly mirrors its purpose with music, both gentle and lively, it becomes a theatrical album hard to take your ears off when Regina engages us with her thoughts. "Enjoy your youth... sounds like a threat" my favorite quote from an illuminated record which I could find little fault with, its all a treat to enjoy.

Favorite Tracks: Small Bills, The Trapper And The Furrier, Obsolete, Sellers Of Flowers, The Visit
Rating: 8/10

Agalloch "The White" (2008)

Browsing through my archives I stumbled into and old gem, a lost treasure, something that must be shared for its intrinsic beauty and deeply spiritual sound. Agalloch are a highly praised American Black and Folk Metal band who released this record between a string of noisier counterparts. Not being that familiar with anything else in their discography I remember it as a u-turn to the roots of their Folk influences, a tribal, pagan ethereal experience that places one at the heart of nature.

The record establishes its Pagan theme immediately opening with a sample of children chanting "We carry death out of the village" from the movie "The Wicker Man" about a Pagan community on an isolated island. Its followed by bright, infectious acoustic guitars, vivid and clean they swoon simple melodies and chords with a Folk charm. It reminds me of the acoustic moments present in Metallica's "Battery" and "To Live Is To Die", a similar tone but a loud and strongly plucked playing style.

Aside the core instrument, the guitar, there is a imaginative variety of sounds that give each track its own dimension, "Birch Black" has swirling synths falling from the sky, a crunchy theatrical baseline signaling the tribal drums that pound the way for a tremolo plucked lead to crash into and narrate the song from a soaring height. "Hollow Stone" plays with brooding ethereal noises that sound like soft winds with distant voices in a choir, morning a lost beauty. It paints a picture of great loss in the cold foggy moors of the countryside as night is setting in. "Sowilo Rune" has a warm, adventurous but tamed piano playing of a soothing chemistry between the ethereal synth and strummed guitar chords. Whispering voices and a deep base moog give it a touch of mystery and mysticism while remaining an upbeat and positive song.

The final song ends where it all started, with a sample from "The Wicker Man" and often it is my cue to return to track one and enjoy it all over again. Its a record of substance and inspiration, one could of wished for more but of the thirty two minutes, not one moment is wasted. Its a mesmerizing, spiritual record, isolated in a bands discography, unlikely to be returned to again. Either way its a treasure I've enjoyed countless times and will continue to as time races on-wards.

Rating: 9/10

Hope Sandoval & The Warm Inventions "Bavarian Fruit Bread" (2001)

Following up on Mazzy Starr's "Among My Swan" and subsequent hiatus, this Hope Sandoval record is mistakable for her main band. With the help of "The Warm Intentions", Hope continues on a similar path with a collection of dreamy and mysterious folk numbers that induce a laid back trance as Hope's seductive voice soothes the soul with her soft and dreamy singing voice. Whats different between the two projects is subtle, the trademark bells and harmonicas feature as if the same, but the hazy distortion tones and darker leaning of the sound are gone.

"Bavarian Fruit Bread" is a lighter incarnation that has the same breezy, dreamy nature. It gives a lot more light to Hope's voice in a complimenting manor. The instrumentals can be a touch sparse at times with the drum kit being a rare feature in many of these songs and its very much a case of hit and miss. When in full swing like "On The Low" everything is just right, mellow and rural, charming and delicate. Indulging, at other times the lone guitar and Hope get's a little to baron to spark the magic, but its also a case of mood. Sometimes I could drift right in, but not often.

Its a terrific sounding record with sparkling acoustic guitars and dreamy echos. There is a couple of more striking songs than on the previous record but its coupled with plenty of tiresome songs that get a little lost with the wind. Hope's voice is beautiful throughout but it doesn't come together as a full length, great in the perfect mood but often a bit of a drab. As much as I wanted to like this album its flaws were all to apparent.

Favorite Songs: Suzane, On The Low

Rating: 4/10

Adrian Von Ziegler "Vagabond" (2013)

Looking for the next record of Adrian Von Ziegler's to spin, I noticed "Vagabond" had a similar format to our recent enjoyment "Wanderer". Four tracks, each twenty minutes in length, this was another seasonally themed ambiance of indulgence mixing gentle scores with the winds, chirping of birds and even the waters washing up on the shoreline. Where "Wanderer" charmed with its balance of environmental ambiance and passing melodies, "Vagabond" find a much more direct approach with a stronger presences from the stringed instruments that give the record a symphonic vibe.

"Winter Breath" is the most striking song, a deep howling wind paints the night black, lead by echoing xylophones as the sounds of frozen caves and landscapes glisten in the spooky quiet beyond the twilight. It steadily builds into big theatrics with strings, choir aahs and dramatic leads that intensify gently before unraveling back into the snowy, dusk bound track led by the winds.

The other three tracks are not quite as impressive, however "Autumn Forest" has some big Celtic folk leads that feel as if they have been cherry picked from traditional folk songs. They come to dance in between quite moments which is what all the songs do here, drift between calm and climactic moments, intensifying in depth and volume. Its a great ambient record, but one that's more demanding of your attention than "Wanderer". Both make for great choices when in the particular mood.

Favorite Song: Winter Breath

Rating: 6/10

Chelsea Wolfe "Abyss" (2015)

Discovering the music of American singer Chelsea Wolfe last year through her previous record "Pain Is Beauty" was a breath of fresh air. Another reminder that there seems to be an endless source of sound out their that can reach you in many different ways. Chelsea's cold, bleak and shadowy music plays off her sweet somber voice like a spirit calling out from dark and on "Abyss" she takes a big step thematically and musically into her darkest sound yet. Accompanied by several members of Russian Circles the album takes the big roaring Post-Metal sound the band play to new territory with monstrous guitar work plunging us into the abyss.

What I previously liked most about Chelsea's music was the juxtaposition between the brighter melodies and the dark, gloomy tones that played off one another. Abyss is stripped bare of anything uplifting and plunges deep into a wallowing despair of darkness as the Post-Metal apocalypse broods sludgy, gritty riffs of ambiguous noise under a rattling kit and Chelsea's lonely cries. Its a hefty, atmospheric sound, but one that wasn't quite as enthralling as its ambition. The riffage falls savage to its textural ambitions and doesn't make anything memorable with the notations.

This is much the tale of the first half of the record and with "After The Fall" the album picks up with a distinct shift in direction as the distortion guitars drop from the focal point. This second half has a lot more melody and driving moments that still focus on an unforgiving despair. "Crazy Love" utilizes a haunting string section that cascades and descends with a tone of horror and evil under Chelsea's soft vocal inflections. Across the album she reveals the dark and tormenting experiencing of the sleep paralysis she suffers from, which a part of this album deals with and contributes to its haunting theme as she shares with us the frozen wakeful state of shadowy figures and being trapped in oneself.

Abyss is an ambitious and focused effort that I cannot criticize, the production works together monstrous distortion and bleak sounds with a clarity that avoids feeling sterile and the music its captured has its direction but for the most part this particular strand of dark isn't as immersible for me as I would of liked. What I like most about her music is that chemistry where the darker sounds smother the brighter melodies within and the first half of the record was devoid of any of that. I'm hoping its just something I'm not in the mood for right now, as I can hear whats great about this one, but right now it hasn't clicked.

Favorite Tracks: After The Fall, Crazy Love, Simple Death

 Rating: 5/10

Adrian Von Ziegler "Wanderer" (2011)

Adrian Von Ziegler is a Switz composer who has gained popularity for his music through the Youtube platform. Adrian composes compassionate, scenic, neoclassical ambient music that touches on Scandinavian folk, nature, mythology and fantasy themes of that variety. Upon first hearing his music I knew instantly it was for me and of the twelve plus records I picked up this was the one to jump out at me first and I'm hooked.

I will summarize "Wanderer" up quickly, its an ambient, atmospheric record consisting of three twenty minute songs that settle a natural, harmonious mood and drift on through with melodies and tunes poised for depth and meaning, while remaining subtle and calming. Progression is irrelevant, the songs hold a moment in time, a feeling without trying to climax and break the mode. Its quite simply wonderful and charming.

The execution is remarkable, Adrian breaths life into these songs with the sounds of bird chirping, rivers flowing, soft winds, the squawk of crows in the distance and the occasional owl. Alongside soft and lush stringed, plucked instruments and gentle synthesizers composed with love and care, these songs come to life on a "go to" record for relaxation, ambiance or that need for a natural connection to the beauty of nature.

Rating: 7/10

Wardruna "Runaljod - Gap Var Ginnunga" (2009)

"Sound of runes, the gap was yawning" is the translated title of this fogy, foreboding record by Nordic Folk group "Wardruna" who formed in 2003 with a vision of creating music and sounds to captivate Norwegian heritage, Norse Mythology and nostalgia of forgotten times through Ambient music. The group distinctively pass the mark of general musical ambiance, creating wildly vivid and transforming soundscapes that paint a dark and tribal vision of cold, unforgiving north.

The record is ripe with cultural instruments, tribal chants and enchanting vocal choirs that play over a rigid backbone of foggy, dense violin-like sounds and the deep pulse of the drum that keeps pace in the backdrop. The sound is lush, capable of igniting the imagination for tribal life and mystic mythology in the snowbound Norwegian landscapes. The detail going as far to include the sounds of birds singing, and crows squawking in the distance as the sounds grow into visions of ritualistic behavior and worship of ancient gods.

The record has a powerful, and obvious drone as the feel of one song flows into the next, the pounding drum guiding the way, never giving in to any dramatic experimentation beyond the scope. Wardruna have a clear vision thats executed exquisitely. Its strengths make it a fine record when in the right mood, in others its droning nature and rigidity leave it a little dry and uneventful, but thats clearly not the intention. Every droning moment paints the abandon of vast empty landscapes and brings us closer to our mercy of nature. With caring production capturing the charm of the instruments and cultural voices "Runaljod - Gap Var Ginnunga" throws the listener deep into a vision of the past through the eyes retrospect and romances with the times forever lost.

Rating: 7/10

First Aid Kit "America" (2015)

Considering their album "Stay Gold" was my favorite record of 2014 its no surprise I got excited for more with the announcement of this short EP back in January. I set myself up for disappointment with this 4 track release which offered just one new song along side a humbling cover and two alternate takes from the full length. Extended plays are a two edged sword, either a shorter concept or a collection of outtakes, in this case in was the latter.

The opening track is a cover of Simon & Garfunkel's classic "America", a gracious cover of which Klara's comforting voice elevates the originals quieter moments in a honorable cover that expands on the original, yet doesn't have the same charm, as you could expect most covers to do so. The next two are alternate takes with weaker backing tracks that don't sound or feel as fleshed out as the album versions and fail to offer much more other than a softer alternative to the powerful songs. The new song, Brother, is a humble poem of family and staying close that has the two singing over very gentle guitar and soft keys before climaxing with some beautifully sung Swedish lyrics, a nice touch to hear them sing in their native tongue.

Overall its a small collection of b-sides that wouldn't amount to much in comparison of a full length, but the cover and new track do have the First Aid Kit charm and will be returned to time and time again.

Favorite Song: Brother

Rating: 3/10

Karl Sanders "Saurian Meditation" (2004)

"Saurian Meditation" is the first of two solo records by multi instrumental musician Karl Sanders of the prolific, ancient Egypt inspired, Death Metal band "Nile". For the average listener this record bares no resemblance to the bludgeoning sounds of Nile's music, but for those who hear the cultural mysticism between the blast beats and growls will know this record draws from the same inspirations.

The music is rich, ripe with cultural instruments and sounds that illustrate a vivid folk music we associate with ancient Egyptian culture. Scuttling Sistrums, tambourines and Tombaks narrate rhythms of pace that roar with the crash of giant cymbals as guitars, lutes and lyre's pluck affluent mystic melodies in eloquent, lively soundscapes that takes you to the ancient times of past in a manor so vivid your imagination needs little fuel. Images of mortal gods, serpents, hieroglyphics, seas of sand and the pyramids are painted with sound.

Not so much can be said for hooky melodies or grooves, this is not a theme or hook for modern music to execute ideas with. These songs are moments, passages that sway, contract and expand as Karl expresses ideas relevant to the times hes inspired by. The result is substantial, a brilliant work of music that resides inside itself, never conforming to modern musical ideas and exploring the ancient mystic world through cultural instruments and rich musicianship that pulls together songs from lush layers of sound flowing in unison. Theres variety in the ten tracks that make the record up and the final track brings in a distorted guitar leads in the Nile tone that sees a dark song climax with a distant roaring solo to end the record on a high and pay tribute to his band as this journey ends.

Favorite Tracks: Awaiting The Vultures, The Elder God Shrine, Temple Of Lunar Ascension, Whence No Traveler Returns, Beckon The Sick Winds Of Pestilence

Rating: 7/10

First Aid Kit "Stay Gold" (2014)

Swedish folk duo First Aid Kit are the best thing about Kanye's "Yeezus"... Hu? What? Heres an interesting story, as Yeezus came to a close it was preceded by what I initially thought was an "ironic" counter culture sample. Like at the end of a Metal or Hip Hop show the house lights come on and sometimes the PA will play something to juxtapose the mood, ie the Bee Gees "Staying Alive". Being completely oblivious to what was next on my playlist, I genuinely thought this was the end of Yeezus. I grinned, thinking "Ironically this is brilliant, best part of the record". As the song drew on I released my foolishness and checked the playlist. First Aid Kit was recommended to me by a reader on this blog and after checking them out on Youtube I ordered this record, which I have now fallen in love with.

Stay Gold is a bright, warm, uplifting and introspective record that brings the loving and harmonious voices of sisters Klara and Johanna to the forefront of colorful, melodic instrumentals reminiscent of American Country music and other Folk like music. Their voices are sunny and powerful, possessing only a fair range their charm comes from the honesty in the lyricism and ear for the catchy hooks in their imaginative and soulful delivery of heart warming and positive messages. What I like most about the lyrics is there acceptance, rather than ignorance of life's struggles, providing uplifting introspectives on dealing with hardships and creating an air of maturity towards the topics explored on the record. Its paints a strong picture of these girls who despite their youth seems to have their heads firmly attached to their shoulders.

Even though their voices and lyrics stole the show, the instrumentation that backs them is not to be overlooked. A pallet of Country instruments provide rich and moody backing for the vocal leads. Their acoustic guitars tend to fall back into these instrumentals, a little buried, providing some gentle strumming but often letting the strings and piano take lead on guiding the narrative of this songs. The chemistry is strong, they build intensities and ease off in-line with the direction of the vocals. It adds a touch of class to the execution of this record which is stellar and has me yearning to listen to it frequently. I feel this one may be a personal favorite of mine, but only time will tell.

Favorite Songs: My Silver Lining, Stay Gold, Cedar Lane, Waitress Song

Rating: 9/10