Reseña en Gothic Paradise – En Directo 2015

Reseña publicada en en Gothic Paradise el 28 de marzo de 2016, sobre nuestro último trabajo «En Directo 2015». Muchas gracias!!


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Wolfhall: Vitae Proelium Reseña

Reseña publicada en Wolfhall, en diciembre de 2013. Idiomas: alemán e inglés.


Wolfhall: Aura Noctis – Vitae Proelium (English)

Album Rezension, Jan. 2013 | Album review, Jan. 2013

After ‘Itineris I’ dating from 2011, now the second album by the female Spanish duo is out, noticeably matured and more clearly focused. Expect an excellent blend of ‘Ethereal’, Medieval and ‘Neoclassical’. The skilled use of acoustic instruments is obvious, only towards the end spheric synthie-sounds are incorporated. That is the main difference regarding the first album, where keyboards have dominated. The vocal parts are particularly charming. Solos, duets or pieces with a Gregorian touch sung by the two. In addition they play the piano and cello. Guest musicians were signed on for flute, oboe and percussion, all deliver a fabulous job. The title song of the album, ‘Vitae Proelium’ (lat.): ‘Battle of Life’ is the most prolific.

About half of the tracks are instrumental, supposedly they were meant for loosing up, or just to round off the CD. But this remains the only thing to complain. Enchanting highlights are undoubtedly the pieces featuring vocals, I demand more of those on the upcoming release.
The mastering was done by the boss of the French label Prikosnovénie, which was a pretty good deal for them.

Fenris W.


Wolfhall: Aura Noctis – Vitae Proelium (German)

Album Rezension, Jan. 2013 | Album review, Jan. 2013

Nach ‚Itineris I‘ aus dem Jahr 2011 kommt nun ein deutlich augereifteres, akzentuierteres zweites Album des weiblichen spanischen Duos. Den Hörer erwartet eine exzellente Mischung aus Ethereal, Mittelalterlichem und Neoclassical. Der Umgang mit den akustischen Instrumenten ist gekonnt, lediglich gegen Ende erklingen noch Synthie-Flächen im Hintergrund. Das macht den Hauptunterschied zum ersten Werk aus, wo Keyboards dominierten. Insbesondere die Gesangsstücke sind sehr reizvoll angelegt. Solos, Duette oder gregorianisch angehauchte Partien von beiden Sängerinnen. Außerdem spielen sie Klavier und Cello. Für Flöte, Oboe und Schlagwerk wurden Gastmusiker gewonnen, die ausnahmslos eine versierte Arbeit abliefern. Der Titelsong des Albums, ‚Vitae Proelium‘ (lat.):‚Kampf des Lebens‘ ist wohl das gelungenste Stück.

Ungefähr die Hälfte der CD sind instrumentale Titel, vermutlich waren sie zur Auflockerung gedacht, oder damit die CD voll wird. Ansonsten kann man den Künstlern wenig ankreiden. Bezaubernde Höhepunkte sind zweifelsohne die Stücke mit Gesang, davon wünsche ich mir noch mehr wenn die nächste Veröffentlichung ansteht.
Das Mastering der Produktion wurde vom Chef des französischen Prikosnovénie Labels übernommen, bei dem sie sichtlich in guten Händen waren.

Fenris W.

Entrevista en Tironas Magazine

Recientemente he recibido la segunda edición de «Tironas», una revista lituana de música underground en la que he participado contestando algunas preguntas. Aquí está el texto del artículo y entrevista (en inglés):


Tironas Magazine Interview Aura Noctis

Aura Noctis is a project that for some unknown reason alluded my attention for far too long. All I can say is that after finally tracking down one of their releases I became an almost instant fanatic for their highly unique soundscapes. Olga the creator and driving force behind the project answered some of my queries.

What was your musical journey that lead to your interest in and ultimate recording within an underground culture of neoclassical/darkwave music?
Neoclassical / Darkwave is surely one of my favourites music genres. I also like very much other styles such as film music, new age, piano solo, and classical music. In general, I like the music that expresses deep feelings, having a special preference for sad music, and I think neoclassical style is in accordance with that.

For a brief history was Aura Noctis your first project?
Yes, Aura Noctis is my first (and at the moment, only) project. It was set up in 2006. For some years, I was just composing, creating and uploading songs to the internet. At first I didn’t think about signing a label, I was happy just making music, although I was looking for a female vocalist and musician to share my project and be able to play live. When my fellow joined, some years after, that was a boost for us to look for and sign a label because she was looking forward to it, and being two, we could consider live performances.

Why the band was named Aura Noctis? What does the monicker mean? Who is the leader of the band?
Aura Noctis means in Latin something like the “The aura (ambience, atmosphere) of the night”. I chose that name because I think it fits the music (it inspires softness and darkness), and of course because I like it, both its sound and its meaning.
It’s not exactly a band, I think it’s more accurate to consider it as a project. It’s me (Olga) who produces the music and the rest have helped or collaborated somehow, providing some ideas, writing some lyrics, or just playing live…

There is not so much info about Aura Noctis? Do you try to avoid a greater emphasis or there is another reason? Tironas Magazine Interview Aura Noctis
Maybe… One reason could be that I like to just focus on the music itself. For me it’s not very important all the accessory information, including image, which is considered so much important in society. According to this, I aim to be liked just for the music.
But in fact I don’t try to avoid giving info either. It’s also a matter of lack of time. Updating the site more frequently and including more info (among other things) are things in my plans.

Aura Noctis is completely young band in the underground scene but already has a number of achievements? How would you describe your popularity?
I’m not sure how to evaluate that, but I don’t think we have much popularity. People who like this kind of music are a minority. Getting to them is not easy and takes quite a lot of time. But whatever we’ve achieved, for me it’s great.

Is the music your main activity or you have any other interests except playing music?
Music is my main interest but not my only activity (I wish it was!), I combine a full-time job with official music studies (Professional Degree in Music), and with my musical project. That’s why I have lack of time, as said in question 4 😉

According to the information on webpage you’d released 2 full length albums and one MCD since 2011. Are you satisfied with your performance or would you like something to change?
Some aspects surely could be improved and I’m always willing to improve. But at the same time, I’m satisfied, because I think that the music is enjoyable despite that both albums have been recorded and produced with very little resources.

What does it make influence to your creativity period? (Time of the year, mood, and so on)
For me, creativity is not related with external or even internal circumstances. It’s like an impulse inside you and it’s always there. You just need some time to dedicate to be able to develop it.

What does it make influence to your songs? Where do you get the ideas for your songs?
I feel that the ideas come to me, not that I get the ideas from anywhere. Usually they come when I’m playing the piano. But time and much work is needed to materialize those ideas in songs.

Could you tell us about your releases “Vitae Proelium” and “Itineris I”? What are the main concepts of these releases?
“Itineris I” was my first work (as a full length album), but as the songs had been composed previously, they were designed with the possibilities I had at that moment (only virtual instruments or synths) So, “Itineris I” was recorded mainly with virtual instruments, with the only difference of including a cello. In “Vitae Proelium” they (virtual instruments) helped too, but I tried to get the most of the people that had joined the project, so it contains good few real instruments: percussions, flutes, oboe… That may have slightly changed the style. Particularly percussion sounds much more powerful. I much prefer to use real instruments, but perhaps the style was better before.
Itineris I was conceptualized as an internal journey through emotions. In fact, that’s what music is for me. And Vitae Proelium is about a battle of existence, seeking to achieve harmony with nature and with oneself.

Is the release “Vitae Proelium” an extension of previously released “Itineris I”?
No, they’re completely different. The songs contained in “Itineris I” had been composed spontaneously, without purpose, throughout previous years and were gathered on the album, whereas most of the songs in “Vitae Proelium” were composed more recently (and some of them rapidly) for the album.

According to your opinion which of the album has more followers for your music? How would you comment that?
I’ve read a couple of opinions from people that like “Itineris I” more than “Vitae Proelium”, but that’s not necessarily representative. In fact, I don’t know and I would like to.

Your two albums have issued two different records companies. Could you comment that?
That was not exactly what I wanted. I tried to release the second album with both labels.

How often your points of view in the result of your creativity differ with the records company view?
Fortunately, that does not happen with independent labels. They release your work because they like what you create. They don’t intend to modify your work to create a commercial product to sell as much as possible, but to release something they think it’s worth, and that’s why they’re called indie, I think. I’ve not had any problem with this issue.

How would you describe your music genre? What makes your music distinct from the similar genre of music?
I’m not sure how to characterize the music genre because the artists considered as “Neoclassical / Darkwave” are quite different from each other. The use of angelic female voices is common (but some use dark male voices, i.e. Arcana). The same happens with the use of classical instruments (some use only synths). About what makes my music distinct, a very dear fan told me this: “You know what I find especially at Aura Noctis? While retaining the melancholy, sadness and despair (can not make dark neoclassic or darkwave music without these ingredients), has added some romance, sensibility, feelings. Sounds like a music that comes from the soul.”

What musical groups/scenes, writers, philosophers have played a role in the shaping of Aura Noctis as we hear it today?
I could mention many, but I prefer to refer only to one from each, that has been special for me.
Band: sToa
Writer & Philosopher: Miguel de Unamuno

Given the images you have used on your releases have a nostalgic and mourning focus. Could you comment that? Do the images you have used reflect a deeper meaning other than for their aesthetic appearance?
We try that images represent the music in some way, not directly or literally, but regarding feelings and mood. The meaning is the same as the music.

What future items are currently in the workings, be those for Aura Noctis and which labels are they destined to be released on?
I’m not sure, things are always changing. This project changed a lot and I was not happy with some of these changes. At some point I stopped liking our live sound. Percussion started to sound too much powerful when we incorporated a floor tom. My fellow liked it, but I didn’t, so I decided to stop sharing the project with anyone who wants something different than what I want. Then, possibly I will continue the project alone. Also, it is possible that I create another project. Or both things at the same time. Lately I like instrumental music more than vocals, so creating an instrumental music project could be a good idea for me.
Anyway, I’m always creating music, although I can’t always produce (albums, songs) as fast as I would like, because much time is needed, But, what is certain is that I will continue making music, one way or another, whether in this project or another. And that’s what matters. Music, always 🙂

What would you like to wish to the listeners and readers?
I wish everyone can find the music they love. Sometimes that takes a long search. As Frank Zappa said, “the mainstream comes to you, but you have to go to the underground”. I wish that each person can develop their own musical preferences, and dare to give feedback to the artists, it would be very nice if there was a closer interaction between listeners and artists.

Heathen Harvest: Vitae Proelium Reseña

Reseña publicada en Heathen Harvest el 16 de junio de 2013, sobre el album Vitae Proelium. Idioma: inglés


Aura Noctis is a band that has somehow eluded me throughout my musical journeys above and beyond. Twice before have they been reviewed on The Harvest, and both times I was brooding away on some black metal barbarism or introverted space ambient, but this third time is a charm and now I finally have the chance to review their latest album, Vitae Proelium. Aura Noctis is a neoclassical act that started out with Olga on piano and Pilar on cello while both added vocals into the mix. In Vitae Proelium, the ranks have been bolstered by Rubén on flutes, drums and vocals, Fernando on drums and Carmen on oboe. Plenty of neoclassical bands have a tendency to use way too many synthetic instruments in their music ending up with songs that sound partially monotonous and lifeless. Sometimes the use of synthetics might be charming, and I admit that my own opinion on black metal bands such asSummoning have gone from adoration to mediocrity due to the synthetic sounds becoming too clean, but here the purity of sound works on a whole different level and really brings forth the life of the songs.

The album starts slowly with “Windtro” being a slow and serene story filled to the brim with both melancholy and beauty. The album quickly gains some pace however and really starts to bloom in the title track “Vitae Proelium” with its slow but steady drumming and ominous voices that bloom out in solemn voices over a sweet melody of flutes. The album continues to evolve with the minimal and heavenly “El Cantar de las Hojas” which masterfully manages to blend vocals, flute and piano together in an effortlessly exquisite way. “Inner Chaos”, on the other hand, is more of a hefty and rigorous composition with a harder, more distinct sound — the complete opposite to the rather serene introduction. The album continues this journey between the blissful and the rough within a balance that is uncanny in many ways. This is an album bristling with diverse and varied content that spans from the enchanted “Arevaci”, which conjures imagery of faery feasts in forlorn parts of the woods, to the sad and melancholic atmosphere of “Un Lugar” with its sweet Spanish vocals that truly lift it above and beyond.

Vitae Proelium is truly a strong album and the combination of fine artistry and marvelous compositions really nails this album down as one of the best neoclassical albums of the later years. Not only does it manage to feel fresh and exciting in a scene that has, for some time now, not really done much to reinvent itself. The instruments really breathe life into each and every song of the album, and the production is excellent. This is truly a musical hydra with many different heads, each singing its own song from the depths of a shared soul. In the end, this album has been a pleasure to encounter and I give it my deepest recommendation. Vitae Proelium is a dream distilled into music and it will surely linger in my soul for many years to come.

_Track List:_

01) Windtro
02) Vitae Proelium
03) El Cantar de las Hojas
04) Inner Chaos
05) Dances of the Soul
06) Amissi
07) Frater Mortis
08) Lautir
09) Arevaci
10) Verna
11) Un Lugar
12) Quimera
13) Omnia in Anima Manent

Rating: 5/5
Written by: Skarsnik
Label: In the Morningside Records (Spain) / MORNING019 / CD
Neoclassical

Gothic Paradise Vitae Proelium Reseña

Reseña publicada en Gothic Paradise, sobre el álbum «Vitae Proelium».


Vitae Proelium – Review

To say I was excited when I heard of a new album from this project would be an understatement. So many tracks from Itineris I have created a longing for more great music from these artists and so it’s great to finally have that longing satisfied. With thirteen captivating tracks, this album is yet another great masterpiece for the neo-classical music fan.

I think I could sum up this review and this album in about a single sentence, or maybe even just a couple of words: simply beautiful. Well, it really is so much more than that and the compositions are much more complex as well. However I have a soft spot for a great mix of piano, cello, oboe and subtle layered ambient synths all serving as a back-drop to beautifully, haunting vocals. As a musician, particularly a pianist, having performed alongside the cello and oboe on occasion, hearing each of these instruments come out so well on these compositions is really captivating. It’s nice to just sit back and listen, soaking it all in as note after note and wave after wave of emotionally spellbinding music wafts over you, as a warm mist or fresh breath of air, revitalizing the soul through the grandeur and beauty of it all.

For those that enjoyed the dynamic, neo-classical tracks from the first album, there’s plenty here as they build on their solid foundation. The album starts with a slightly new twist on «Windtro» which is a sort of play on the word with the wind instruments of the flute and oboe taking center stage for this introductory track. The dynamic nature of this album shines forther across the entire span as piece by piece we’re presented with varying degrees of intensity and various styles. It all comes together in the powerful title track «Vitae Proelium» with a heavy, processional percussion setting the rhythm while a duo of vocals and synthesized chorus form the web of layers as the organic flute, oboe and cello bring it all together. This slightly heavier, more intense style comes alive on a few pieces, the most intense of which is appropriately named «Inner Chaos». This instrumental piece showcases Olga’s excellent talent on the piano while the instruments create a nice backdrop adding more breadth and depth to it all. Other pieces come together in like manner such as «Amissi» in a slightly slower and somber mood as well as the more intense piece «Lautir» which comes out as something more of a soundtrack to an epic fantasy adventure movie.

While these are all great pieces and enjoyable, my heart and sould remain captivated by the softer, more classically oriented pieces from these artists. The angelic vocals over the softer, dreamier music is spellbending and mesmerizing. The first of these on the album appears in the form of «El Cantar de las Hojas». On their debut album «Encontrarte» was the dreamiest of pieces and it seems they’ve realized this and capitalized on the beauty of that structure and we’re presented with a number of excellent selections on this album of similar style. «Dances of the Soul» finds itself somewhere in between the two worlds, haunting and intense, yet beautiful and alluring with the piano making the heart race while the background ambient soundscapes hold the listener entranced. Also breaking the mold slightly is the wilting fairy tune «Arevaci» that inspires a lighthearted, elf or fairy dance from some other fantasy world. The lilting waltz is bolstered and anchored by heavy percussion and deep cello while the dreamy flute and oboe keep it moving along in that buoyant, lively nature. As the album comes to a close we’re treated with «Un Lugar» with more of the soft haunting vocals in spanish and with that madrile�o accent that is like sugar to the ears to someone accustomed to it, yet not around it much when living on the west coast of the United States. The album wraps up with two more beautiful pieces, «Quimera» which is another intense, yet beautiful instrumental that gives way to «Omnis in Anima Manent». This finale to the album presents us with soft, somber piano and beautiful, soft soprano operatic vocals, a truly spellbinding combination and great way to wrap up the album.

These talented artists have truly out-done themselves and shown they have a solid foundation to build on and plenty of creativity and talent to grow with. As I began this review, it can easily be summed up as simply beautiful. Enjoy!

Rating: 5/5

Gothic Paradise Itineris I Reseña

Reseña publicada en Gothic Paradise, sobre Itineris I.


Itineris I – Review

Presenting the debut album from this enchanting duo. It comes packaged in a standard jewel case with a small booklet featuring beautiful cover art in a wintry landscape featuring the two key instruments: a piano and cello. The imagery of the music is captured well across eleven spellbinding tracks that hold listeners entranced throughout the duration.

The album starts off dark and brooding with «Ad Occasum Tendimus Omnes», much like the darker tracks from Arcana with a lot of heavy, deep layered electronics and percussion with subtle piano and the chanting, angelic vocals to soften and accent it all. Yet even with the heavy sound, it still comes out beautifully and sets the stage for what has become a new all-time favorite album. Each piece on this album is a masterpiece as we drift from these heavier, darker pieces to the dreamier neo-classical sounds. Sometimes in the form of captivating instrumentals featuring excellent piano compositions moving along with subtle cello and other layered, synthesized sounds. Accented at times with bombastic percussion or featuring spellbinding, angelic vocals from one or both artists.

Favorites on this album could easily be every piece with the variety and beauty across the entire album. Songs like «D.e.S.» as mostly an instrumental piece with the vocals not forming any intelligible vocals, but rather becoming an instrument in and of themselves. Other instrumental pieces like «Progresiva» are absolutely mesmerizing with the swift moving piano along with the cello forming a lilting rhythm that moves along, ebbing and flowing dreamily. There is a trio of instrumental pieces later on with «Erste Reise», «Zweite Reise» and «Dritte Reise» which are each beautiful in their own way. These instrumental pieces have a life and soul of their own that really shine on this album like many of the great classics and neo-classical masterpieces alike.

A few tracks on the album are made up of pieces which do feature more distinct vocals like «Solitude» with beautiful harmonies featuring both vocalists softly lilting and drifting over the somber mix of instruments real and synthetic. A definite favorite early on when their precursor 3-track teaser was released is «Breaking Thoughts». The harmonies mix operatic with clear, soft and sweet vocals for a unique, lovely style. My absolute favorite piece on this album is the simple and sweet finale «Encontrarte». The vocals are sweet and simple, sung in spanish (the only track on the album in spanish) and absolutely captivating as they move sweetly along over the mix of somber cello and beautiful, classic piano compositions. As this piece winds down, I’m left breathless, wanting more and simply wanting to stand and give these two a grand ovation for their excellent work. I can’t recommend this enough for fans of sToa, Dargaard and Arcana. Pick it up, listen to it and love it!

Rating: 5/5

Heathen Harvest: Itineris I Reseña

Reseña publicada el 1 de septiembre de 2011, en Heathen Harvest. Idioma: inglés.


Aura Noctis is a brand new project from Spain, comprised of two female musicians, Pilar (cello, vocals) and Olga (piano, vocals, arrangements). “Itineris I” is their first full-length album, following their very recent self-titled promo presentation. It comes in a CD jewelcase packaging accompanied by beautiful artwork, depicting snowy natural landscapes in a melancholic, romantic manner. Their home is the also Spanish Gradual Hate Records, which has released recordings by acclaimed artists, among others Francisco López, :Igniis: and Silent Love of Death. Ethereal neoclassical is a difficult genre and requires a significant amount of talent, dedication and creativity in order for a project to distinguish itself within its boundaries. Perhaps for that reason, and despite the entrance of classical elements in the general post-industrial world, few projects manage to make themselves truly noticed. Its affinity to classical music makes the listeners more demanding, whereas the all too common occurrence of these elements – sometimes with questionable taste – detracts from the potential effect they might have otherwise been able to cause. It is an extremely pleasant surprise therefore, to see new blood in the scene, following the tradition of names very dear to fans, such as Arcana, Artesia, Dark Sanctuary, Dargaard.

Aura Noctis adapt that tradition properly, using its forms to create, but not to imitate. The first impression from “Itineris I” is that it’s a fresh, inventive album made by two musicians clearly skilled in interpretation, vocals and composition, as well as arrangement. The piano and cello dominate the ensemble, but each track has its own character and various components are accordingly introduced. The artists themselves label their music as Neoclassical/Darkwave. Listening to the album carefully I believe their influences balance evenly between classical and neoclassical/darkwave. For instance the sharp, quick, flowing piano sequence of “Progresiva” is very reminiscent of the renowned contemporary Italian composer Ludovico Einaudi – the same vein of intensity and harmony can be found here. The track is given a more majestic, sombre tone by the cello opposing the main melody. “Ad Ocasum”, the album opener, begins with an ominous, heavy female chorus sung in Latin, which could’ve easily been part of Wojciech Kilar’s “Dracula” score, if only it had been a little faster and more high-pitched. The voices and the piano interpose one another to bring the mood back to the realm of neoclassical.

“Breaking Thoughts” with its distressing, anxious piano sequence, the combination of ethereal and operatic vocals, the dramatic pauses, the sudden turns in melody and its overall tension evokes the much loved sounds of Michael Nyman. “D.E.S.” combines cello, piano and heavenly voices to create a downcast, fallen-from-grace atmosphere, very similar to Dark Sanctuary. “Solitude” continues from there, introducing a few lighter, electronic elements and operatic vocals, which we also find in “Luctu Furiata”. “Fantasia” and “Encontrarte” (the only track in the album with Spanish lyrics) are two more captivating, mournful tracks, while the “Journeys” trilogy (Erste, Zweite & Dritte Reise) is the climax of the compositional complexity which seems to be the stamp of Aura Noctis’ music. All three are truly inspiring, to the point where it is impossible to choose one over the others.

I started listening to “Itineris I” with the expectance of being once more carried away to enchanted forests, dreamy landscapes and poetic fancies, as is always the case with good records of this genre. The essence of romanticism is to find the beauty in melancholy, the melancholy in beauty, to focus on yourself and allow the sensations and thoughts to flow freely, the imagination to run wild, your humanity to be felt completely. An escapist form of art to some, to me it is cathartic if nothing else. Filtering the emotions through an artistic process, creating harmony and meaning out of the very depths of the soul, is that not the definition of art? My expectations were wonderfully fulfilled and now I am optimistic again, that we have something new to expect from this genre in the future. Aura Noctis have created a fine work of romantic art, impeccable in all its aspects. Loyal to their ethereal/neoclassical descent but also imbibed with their own, personal lightness of spirit, their Mediterranean freedom and harmonious plasticity. Highly recommended for fans of neoclassical as well as classical music.

Rating: 5/5

Written by: VITRIOL

Peek-a-Boo Magazine: Aura Noctis EP [CD]

Reseña publicada el 13 de julio de 2011 en Peek-a-Boo Magazine. Idiomas: inglés y holandés.


Aura Noctis EP [CD] (English)

The Spanish Aura Noctis brings us melancholy neofolk / darkwave. This EP is a bit short to assess this band but these three songs already give a clear idea what this band stands for.

The EP opens with «Breaking Thoughts». Repetitive piano, cello and high ethereal voices create a beautiful melancholy, a deep sad feeling that undersigned often can appreciate in music.

During the second song, «Progresiva», the cellist Pilar plays an amazingly beautiful main role where the repetitive piano creates the perfect accompaniment to a wonderful instrumental.

The third and final song of the disc is the slow «Zweite Reise». This time pianist Olga may pull out all the stops. The synths and strings form the perfect soundscape. Again it is a gloomy black gem.

Three numbers is unfortunately too few to really get to know the band, although this is a very strong EP. I really look forward to the full length album, on their website announced as “coming soon”.

A recommendation for neofolk / darkwave fans and an extra name in my booklet «bands to follow».

Ward DE PRINS


Aura Noctis EP [CD] (Dutch)

Het Spaanse Aura Noctis brengt melancholische neofolk/darkwave. Deze EP is een beetje kort om de groep te beoordelen, maar geeft met haar 3 songs wel al een goed beeld.

Het schijfje opent met “Breaking Thoughts”. Repetitieve piano, cello & hoge etherische stemmen creëren een mooie weemoed, een diep intriest gevoel dat ondergetekende vaak kan appreciëren in muziek.

Tijdens het tweede nummer, “Progresiva”, mag de celliste Pilar alles uit de kast halen waarbij het repetitieve pianospel voor de perfecte begeleiding zorgt in een supermooie instrumental.

Het derde en laatste nummer van het schijfje is het trage “Zweite Reise”. Ditmaal mag pianiste Olga alle registers opentrekken en zorgen synthesizers en strijkers voor de perfecte begeleiding. Ook hier weer is een zwarte mistroostige parel ons deel.

Drie nummers is helaas een beetje weinig. Weliswaar een zeer sterke EP maar ik kijk toch uit naar de volwaardige langspeler, die op hun website voor binnenkort wordt genoteerd.

Een mooie aanrader voor neofolk/darkwave fans, en een naam extra in mijn boekje “bands to follow”.

Ward DE PRINS

Heathen Harvest promo single reseña

Reseña publicada el 4 de julio de 2011 en Heathen Harvest. Idioma: inglés.


Here we have a neoclassical band, which has two members (well, neoclassical band doesn’t need more anyways): a pianist Olga and cellist Pilar. It was interesting to get acquainted with a neoclassical project coming from Spain no matter I was first a little bit skeptic about the band, when I read the description and references. I can’t really say what I was waiting for from the band, perhaps I was waiting for nothing, because each time you are waiting for something original from the bands having a reference to Dead Can Dance, your expectations fail. But! When I finished listening to this short release, rather an abstract from a story to tease you, I almost felt the tear coming from my eye (apart from that it got combined with windy and rainy window behind my window really well). And to be honest, it was long ago when I was moved by the sounds of music last time.

As I already said this release looks like a teaser, an abstract from a story that interrupts all of a sudden and you cannot figure out why, because for the last 11 minutes your world was completely filled with the sounds of piano and cello, combined, intertwined, talking to each other, quarrelling and singing together, being in a hurry, going up and down and carried away in the stream of synth background, accompanied by rare vocal and drum fragments.

Certainly, it is a very lyrical piece of music. I think each track in this release is worth mentioning and description, in the end, there are only three of them. Each of the tracks has synth atmospheric background that gives the tone to the tracks and an album as a whole. The first track, Breaking Thoughts, is the only one that has vocals and clear synths on the background. It can be compared to the swinging teeter-totter, first the amplitude is low and the sound in the track is rather calm and unemotional, but then it slowly develops, becomes more powerful, and then again almost stops, as if the one who was swinging the whole thing suddenly got deeply into the memories, which then become more and more disturbing. And then the sound becomes strong again and the whole thing gets to the culmination closer to the end. The second track, Progresiva, is very ringing and sparkling and tickly and transparent and aerial and passionate thanks to piano passages that go throughout the track being a perfect background for the cello, creating an incredibly tense atmosphere. And I guess you feel the same when the airplane takes off and the land stays behind while you go up in the skies…The third track compared to other two overall is rather calm, unites two previous tracks and puts not a comma, but three dots…

In fact, I don’t think it has much in common with Dead Can Dance, rather with Arcana, which kept developing a certain part of Dead Can Dance, and with Stoa (at least from what I have heard). Generally, this release is characterized by the idea of hope you have while listening to the music which is rather melancholic and even tragic, perhaps. It has unexpected turns, interesting harmonies and melodies as well as ways of expression. I wouldn’t say that they did something extremely original that no one has ever done before. No. I would rather say that they created a piece that sounds very honest and touching, very natural and inspiring and something you want to listen to again and again. Weird thing: it feels like winter nature waiting for the spring to come, although the band itself comes from Spain.

Rating: 5/5

by Elena ZG