Pagan society - part III - women

Note: this article describes only women's position in pagan societies, mainly in the context of local laws. I skip here the situation of roman and greek women ('cause everybody learns about it in school. At least here in Poland...) and will focus on germanic, slavic and baltic people. Their laws were very similar, so there is no point in dividing this topic unto three different parts. 

About celtic women you will read in an article describing the role of female element in celtic myths.

Mund

Mund (old germanic mundo, or latinized mundium) was a privilage of the head of the family. It litteraly means "protection", and it belonged to the oldest male member of the family (understood as all persons related by blood). The men who had mund over the other person (children, wife etc.) had a right to decide for him about marriage, his political actions etc. This power wasn't absolute (as many people think), but was of course limited by the law. Moreover, this privilige was also a kind of duty - to protect the family against all problems and dangers. It was indeed a matter of honor, but also the law. 

The institution of munduol was inherited. So for example when a father of the family dies, his oldest son take care of it. When he also dies, and there is no adult heir, the brother of the father take care over the family. Et cetera. 

There was also many kinds of mund. Other was mund under your own child, other under a wife and other under your mother-widow. 

Now, when this typically barbarian law is known to you, let me describe the situation of women. 

Their situation

Woman of those times (and I mean something around VIII-XII century) was always under protection of man, whether they wanted it or not. The society was than very patrarcharne, which means that it was dominated by man. It was beginning since the girl's birth day. The father were deciding if he accepts her as his daughter or not. And sometimes he actually didn't - if he suspected that his wife was cheating him with another man. In such case the girl was left in a forest, and a wife was sent back to her father (or oldest brother/son). 

The girl was raised only by mother (even with in those times father could spent quite many time with his children). Under her protection she was learning farm management, weaving, cooking. singing and of course how to influence men ;] Sometimes she was also learning how to fight, due to the fact that man (as a warrior) quite often was leaving his farm to raid some lands, or protect the tribal land. Eventually she could even became a shieldamaiden - a woman who decided to be a warrior (of course by a permission of her munduol). Altought it wasn't very popular (as pagan men weren't very happy to see women taking care of their traditional male activities) sometimes it happened - but only in the land of norse and russian people.

Most of the women became wifes. Icelandic family sagas show us clearly that very often a women were choosing husbands for their own. However sometimes father were urging them to get married with particular men. Just remember - the woman could refuse it. Forcing women to marriage was recognized as a big stain on the honor.

A marriage was a happy moment especially for the slavic fathers - because they were getting a big amount of wealth (or money, or land) for mund of his daughter. It is also important - a new husband was buying a mund from his wife's father, and not a wife as a person! It means that he was becoming a new protector of a woman. And by the way - a woman was also receiving her bride price just for her, as her own property. It wasn't a small thing - norsemen were able to give for example equivalent of annual profit of local forges. I don't have to mention that blacksmiths were one of the richest persons in such societies?

The women hadn't - of course - any political rights, but quite often they had a big influence on their husbands. Norse sagas describe many situations when men (like Sigurd) were taking advice of their wifes, or when woman had quite a big power and prestige in a whole scandinavian world (like Sigrid, a sister of polish prince Mieszko I).

But what happened when woman was abused in her home, she got raped by her husband or her spouse was insolvent? Well, she could ask her relatives to prosecute prepetrator of her misey on a local thing. She couldn't do it for herself, but a family was supposed to defend her in such situations. If he won a trial, she was free to go under a mund of her father/brother/oldest son. As a widow/divorcee she was receiving a right of re-marriage - from this time she could got married with whoever she wanted to. SHE was a side who was negotiating marriage, and not her munduol.

So to conclude - the position of women in pagan societies was different than most of people think nowadays.  In his work "Germania" Tacitus, a roman historian (56-117) was astonished how much freedom had germanic women (comaring to the situation of roman ones). The rights of pagan women were old, and well preserved through ages. Because pagan men, even if they were dominating in the society, understood very well how important to them were their daughters, wifes and lovers. 

Books:

K. Modzelewski - "Barbaric Europe" ("Barbarzyńska Europa")

Icelandic family sagas (click!)

Germania by Tacitus

Links:

E-anthropology

The Viking World

Tranceform

Viking Norway

Women in the european early Middle Ages

Vladyka, written in the year 2013

Jarun - "Wziemiozstąpienie" (2012)

Jarun

"Wziemiozstąpienie"

[Self-released]

2012

Jarun is a polish black/folk/progressive band founded by Zagreus in 2008 in Nowy Sącz. "Wziemiozstąpienie" (try to say it fast, huh!) is their debut album. A very tasty debut album, I must admit. I've heard many good opinions about this young horde, but the music that their bring us pass all my expectations. But ab ovo.

The core of the whole music is here black metal. If the band wants they can create good aggressive riffs, like they purpose was destruction of everything (parts of the opening "Wziemiozstąpienie" or "Niech moje słowa będą ogniem"). But black metal represented by Jarun is for most of the time more atmospheric, with big usage of acoustic themes and calm, muted parts. Evey track is full of such parts, so that it is hard to count which one would be a good example of such kind of playing (maybe "Deszcz", with the sounds of raining in the background?). Generally speaking the music is very dynamic, it changes quite often from one mood to another so that it's hard to get bored with that. That's the merit of a bit progressive approach. In such moments prevails calmer parts, giving a good oportunity for bass player to show that his instrument can be used in very interesting way. Such kind of playing reminds me some of "atmospherical" bands, especially polish Furia. 

The last element which gives Jarun very unique, original character are folk references. I would say that if at the beginning this "folkish" attitude is a bit hidden behind progressive and purely pagan metal kind of playing, than since the track "Przebudzenie" it prevails. To be honest it sounds amazing when progressive parts (raised from classic rock!) mix with folk tunes and black metal vocals ("Powrót"). Of course this effect is achieved only with usage of riffing - there are no traditional instruments in Jarun's music.

I am bought. Really - the creativeness of this black-metallers is so fresh and non-trivial that it is a must-have for every fan of a bit progressive, atmospheric music as well as fans of pagan metal. And good music in general ;] And about rating - it is so high inter alia because it's only a debut! Personally I hope that their another material will be at least as great as "Wziemiozstąpienie", if not better.

Rate: 10/10

Vadyka

Music "video" to "Zamieć":

Tracklist:

1. Wziemiozstąpienie

2. Deszcz

3. Prawdy ulotne

4. Przebudzenie

5. Niech moje słowa będą ogniem

6. Powrót

7. Zamieć

8. I znowu zima...

Paper edition of the Heathen Altar Maga'Zine

 

The limited paper edition of the first Heathen Altar Maga'Zine issue will apear in 2014 - around February or March. It will contain every interview and all of the reviews from this site + some articles about paganism and history. Possibly you will find there also some extra adds. If you have any suggestions - contact me: heathen.altar@gmail.com 

BTW - I will be propably looking for somebody who is skilled in drawing. If you want to help me - you know how to find me. 

 

More info soon... Here.

 

Percival - "Slava!" (2012)

Percival 

"Slava!"

[Self-realeased]

2012

Percival is a side-project of folk metallers from Percival Schuttenbach. This polish band released in 2012 an album entitled "Slava!", which will be a part  of slavic trilogy. This album is focused only on the traditional songs of South Slavs (click to learn more).
Hmm, and what can I say? The previous album album was good. Maybe it wasn't a revelation, but it was a good piece of music inspired by the early Middle-Ages' tunes. But sorry to say, "Slava!" is worse. Moreover - in some moments it's indistinct. Let's take, for example, the second song "Delberino". The song is not very dynamic, instruments are not outstanding in this track and the vocalists sing like if they do not wanted to do it. Tragedy. There are though here some tracks that are interesting like e.g. "Gusta" or "Karanfile" with a bit mysterious atmoshphere. But most of the tracks are mediocre. Yes - not bad, but also not good. Just mediocre. I know some of these tracks in other arrangement by artists from Balcans - and they have much more power and energy than Percival's versions. I don't know why - maybe because of the southern temperament, maybe because people from Balcans know better their own culture. But anyway they are better in performing this kind of music.
The other case are instruments. In my opinion - if you want to play a music from certain region, you should use instruments from this region. However Percival is just using their own instruments, inspired by Middle-Ages stuff. Sorry to say, but I don't like it. It was OK on the previous album, but here it doesn't fit the music at all.
Generally speaking if you are doing something, and you want to listen to some uncomplicated music this album will be a nice soundscape. But if you want to listen to some real, energetic folk music let better seek for something else. There are much better balcan folk albums than this. What a shame that this one sounds so poor, but I hope that the next Percival's album will be better. There are no many talented folk musicians here in Poland, and these guys are one of them. I wish they won't waste their talent.

Rate: 5+/10
Vladyka

Music video for "Gusta":

Tracklist:

1. Gusta (Serbia)
2. Delberino (Bulgaria)
3. Karanfilče (Serbia)
4. Vrsuta (Montenegro)
5. Lazare (Bulgaria)
6. Korita Ivanova (Montenegro)
7. Ne orji, ne sejaj (Slovenia)
8. Naranča (Croatia)
9. Žali Zare (Serbia)
10. Ljubav se ne trži (Croatia)
11. Šta to radiš (Serbia)
12. Karanfile (Bosnia)
13. Dve nevesti (Macedonia)

Maras - "Mienje Na Svetcite" (2012)

Maras

"Mienje Na Svetcite"

[Self-released]

2012

OK, this review will be short, because "Mienje Na Svetcite" is just a single with only one track. It was recorded by macedonian band Maras - you must admit that it sounds kinda exotic, huh?

The music bases here on slow, guts crushing doom riffs with black metal feeling and very condensed, stifling production. One of the better elements here is surely a vocalist - the guy is spitting out deep, stertorous growls like some possessed demon (yeah, I know, veeeery original comparison). The music sounds quite powerful, and later it turns into a bit cacophonous-tribal areas. That's because of traditional balcan instrument - zurla - which creates very strange, disturbing atmosphere. If you can't imagine it you should know that it sounds similar to what you could hear on Rotting Christ's last albums (I mean this kind of trombone). The whole composition creates quite an interesting atmosphere. It works very well in a small dose of single, yet I am a bit affraid that in the long run of LP it could be tiring.

And that's it. You can check for yourself if this track is worth your attention or not. Personally I liked "Mienje..." well enough to wait for the upcoming full-lenght album (coming soon at the beginning of 2014).

Rate: 7/10

Vladyka

Click here to download the official single for free from Bandcamp.

Official single on Youtube:  

Ereb Altor - "Fire Meets Ice" (2013)

Ereb Altor

"Fire Meets Ice"

Cyclone Empire

2013

Ereb Altor is hailing from Sweden, they have lyrics about vikings and norse mythology and plays epic viking metal. Guess what is their main inspiration than, hehe.
Yes, as you might already know it is Bathory. Everyone who love such the epic albums as "Hammerheart", "Blood On Ice" or "Nordland" will defenitely know what to expect from "Fire Meets Ice". I must admit that I was a bit sceptical while I was turining on my music player containing this album for the first time. But as the music was flowing I realized that it is not just a lame immitation of Quarthon's genius. Sure, all those choirs, pathos and riffing (especially in the first tracks) can be associated with Bathory. Even the clean vocals have a bit something to do with it. By the way, they are so damn heroic and poignant that listenning to them is a pure pleasure. If a vocalist is performing his skills in some other bands, than I will defenitely check them out.
But returning to Ereb Altor - so from one side we have a Bathory fascination, but from the other side Ereb Altor has also it's own spirit. Much of it. First of all it sounds that Ereb Altor in the past was more inlfuenced by doom metal. Thera are quite many slow, heavy riffs that can be associated only with this style of playing. It is also obvious that the creativeness of swedes is inspired by black metal - it can be heard in harsh vocals, as well as in some riffs and blast beats like in a track "Helheimsfard" or purely black metal "Post Ragnarok". There are also more nostalgic moments, with a big usage of acoustic guitars like in "Sacrifice", "Our Legacy" and especially "The Deceiver Shall Repent". They very much reminds me the traditional epic songs from Scandinavia and British Islands. And what can I say - they flow very fast, giving a listener a great portion of viking metal. The music is complemented by a good production and the amazing cover artwork and layout. A pure feast for the eyes.
Put it all together - "Fire Meets Ice" is a highly listenable piece of music. This mixture of many mentioned influences gives us a high octane music, which should be like a fuel for all those who love epicness in metal.

Rate: 8/10
Vladyka

A lyric-video for "Nifelheim":

Tracklist:

1. Fire Meets Ice

2. The Chosen Ones

3. Nifelheim 

4. My Ravens

5. Sacrifice

6. Helheimsfard

7. The Deceiver Shall Repent

8. Post Ragnarok

9. Our Legacy

Oldschool Folk Metal

Today I would like to present some oldschool folk metal bands, which should be very influencial for the genre and which are (more or less...) forgotten. It should be interesting especially for the younger fans - however old maniacs can reminisce :)

Sabbat (UK)

Actually it is not a typicl folk metal. But first of all - this is the band that was an fundament for creating Skyclad. And secondly - it has some folk relish.
Founded in 1985
The band doesn't exist anymore
Metal Archives

Skyclad

Is considering as a first folk metal band ever exist. It's defenitely something that every fan of this genre should at least briefly know.

Founded in 1990

The band is still active.

Metal Archives

Otyg 

The band is from Sweden, and their music bases on traditional swedish folk songs. Lately Vintersorg (from Borknagar) stated that his going to release new Otyg's album - I hope for something good!

Founded in 1995

Reactivated in 2012.

Metal Archives 

Isengard 

This was a side-project of Fenriz from Darkthrone. The music had more black metal relish, yet it was inspired by traditional scandinavian tunes. Especially interesting is an album "Hostmorke"

Founded around 1989

Inactive today.

Metal Archives 

Storm (Nor)

Another project of Fenriz, founded together with a singer Kari Rueslatten and Satyr from Satyricon. They released only one album "Nordavind" - yet very interesting in it's musical form!

Founded in 1993

Inactive today.

Metal Archives

Written by Vladyka in the year 2013

Falkenbach - "Asa" (2013)

Falkenbach

"Asa"

Prophecy Prods.

2013

OK, let's start this review with the only flaw that "Asa" has: the cover could be better. Really, Bierstadt is a great painter, but this particular artwork is only not bad. Of course in some way it represents the atmosphere of the album, but still it's not stunning.
And that's it. Now prepare for the one, long complimenting (or ass-licking, if you want). The new Falkenbach's album "Asa" shows a pure genius of Vratyas. It is amazing how this men can create such a powerful material, even if he really didn't record anything new. Again. Yes, dear readers - Falkenbach doesn't develop nor changes it's music much. It's specific style can't be faked by any other band, and if you heard the previous albums "Tiurida", "Heralding" etc. you know what to expect. Most of the tracks (beside more diverse "Bluot Fuër Bluot") can be divided into two categories: the first one is a folk-epic side. These songs contain many parts of acoustic guitar, playing together with heavy riffs and clear, longing vocals of Vakyas. As always they are a bit nostalgic and a bit (only a bit) epic. Also, as on my ear there is less folk instruments this time. I don't know how this band do it, but it really sounds outstanding. The music contains some magic, that you immediatelly falls into the atmposphere of each hymn... Just listen to the single promoting this album - "Eweroun" - and you will understand that I am right.
The second category are tracks based on traditional black metal from the early 90s. And I will write it in that way: they are amazing! The riffs are dynamic as hell, and remind me again the best era in black metal's history. Just check out this opening riff from "I Nattens Stilta" - it's SO FUCKING INSANE! Or a genius riffs from "Stike Wound" with the polka-beats in the background! By the way it can be clearly heared that Vratyas had well chosen his line-up. The musicians proof that they are really experienced, and their abilities can be seen here perfectly. The heavier side of "Asa" is absolutely not complicated (like the softer side, to be honest), yet the music is so memorable... You can clearly hear an ancient spirit of this music.
"Asa" is one of the greatest albums of this year, if not best. A must-have for fans of pagan and epic metal.

Rate: 10/10

Lyric video for official single "Eweroun":

Tracklist:

1. Vaer Stjerdan Vaerdan

2. Wulfarveijd

3. Mijn Laezt Wourd

4. Bronzen Embrace

5. Eweroun

6. I Nattens Stilta

7. Bluot Fuër Bluot

8. Stike Wound

9. Ufirstanan Folk

Pagan society - part II - social layers

King (a ruler)
The position of the ruler (king, jarl, konung, knjaz, vladyka etc.) was very different. It depends of time and concrete tribe(s). There were even societies where there was no ruler (like for example the confederation of slavic Lutici tribes). In the contrast there were also very powerful kings, who ruled vast lands (e.g. russian Kjaz). So I will focus here only on those smaller, local chieftains - as in pagan reality it was more natural to have such rulers than some great kings.
Depends on times, once ruler was more powerful and once common gathering was the mightest power center. The only thing is known for sure  - there was never pure democracy in such societies. The thing was a tool in the hands of an elite (including chieftain). The free people could only accept or reject proposals of nobles. Of course people could influence noblemen to take care of some things, but still the noble ones were those who presented the case on the thing.
In ancient times the king was someone who represented tribe in the outside. That means that he had to be as perfect as possible - because in some way if the king had flaws also society had them. The most rigorous were celtic people. In those societies if the king was hurted in the battle he automatically looses his title. It was a kind of magic, as king was also becoming an half-god after his death. He was worshipped as a hero - a personification of tribe's might.
OK, but let's say that you live in a pagan society and you desire to be a king? First of all, you have to be chosen by a thing or in a divination. The latter way is more charachteristic for celtic tribes, were the layer of druids had been very influencial in politics. But both methods had a common goal - to choose somebody who is a give warrior. The main function of rulers was to lead an army to the battles. The rest of the power was supposed to be in the hands of the thing. And that's why the personal skills of the king were important. If he wanted to be powerful - he had to gain a favor of his army. Because army was constructed from free people - the same free people who were voting on common and local gatherings.
OK, you're a king now. You have won many battles, and you have a big authority amongs people. What's our next step? Of course you want to convince people that your son should take a reign after you. Because after a death of one king the new one was always chosen by a thing. But if you change it, your dynasty can gradually gain more and more power. Eventually a thing could become only an representative gathering - without any real power. It was not easy though, because the dynasty had to be not only skilled warriors, but also they were supposed to be in good relationships with the noblemen. It was difficult especially when those both social layers were divided by fighting for their own buisness and rights.

Nobility and free people
To see what a difference was between ordinary free people and the nobility we need to study the roots of those division. At the beginning the elite was built up from people who were brave enough. The people who were a good leaders or tradesmen eventually got big assets, and what's important a land. Many between peasents ("ordinary" free people) also had a land, or even servants - yet their property or status hadn't been big enough to count in the society. So as we can see those two layers were very unstable - if you was good enough and had some luck, you could become one of those mighties ones. It may be strange for people who associate only knights with the military, but we must remember that in fact every free man was supposed to fight in defence of his land. Moreover - because noblemen were expected to give much harder effort during a war sometimes it was more profitable to be an "ordinary" freeman! (e.g. in the times of Charlemagne, in purely frankish areas, when the nobility had to serve in wars for many years unlike the rest of the society).
About mentioned luck - pagan people (and people in general, even very long time after a "baptism" of a tribe) believed that if you are wealthy and you are good in the battle - than the gods are on your side. That's why very often "lower" situated people were agreeing with ideas presented on the things with no objection - because they believed that talented elite, who are supported by gods will make best decision for the whole society.
Nobility, beside their obedience in society, had also another privileges bounded with a law. E.g. they were taking bigger compensation for killed relatives, grievances etc. Usually they were taking two or three times more "money" (or wealther) than a usual person. Later it changed - the christian kings, who wanted to protect their officials or gain a hearing from the nobility where raising these amounts. Also during a trial their vote was two or three times more important than a voice of "regular" men.
With noble blood were bounded also noble duties. The most important was to defend a tribe, but not only. Keeping a peace in society and such things were also important. If a noble men failed, than he was the only person who got punished. Also if he broke a law, he was paying more - because he was expected to be more ideal than other free people. The nobility was expected to be an example and inspiracy for the other tribesmen - and not a tool of tyranny in the hand of the king, like it became often in the christian times.

 

Slaves

Here I make it short - a slaves weren't treated like a human beings according to law. If you read any agreement between two persons about inventory etc. you will see that very often a slave costed less than a cow - because cow is more useful. Even if icelandic family sagas present us that enslaved people weren't very often treated badly, in fact they had no rights. When you become a slave you loose everything - including your kin. And a man without a kin was nobody - because no one would take his side in a trial, no one would give you a shelter etc. Doing this was highly comdemned by ancient societies. The master of such slave could kill him, rape him/her or make him hurt without any consequences. The only situation when somebody was supposed to pay for a slave's death was when he killed someone's enslaved person. It was treated similar to killing a horse or a cow.

In the eyes of people from that times when somebody gave a slave personal freedom - than in some way he was creating him a human again, and becoming some kind of father for him. 

In germanic societies there was also a layer of lits, but I will write about it after an article devoted to women. Also there will be article about the priests - as they were something more special than other free people.

Learn more:

Karol Modzelewski - Barbaric Europe ("Barbarzyńska Europa")

Icelandic family sagas, (like Laxdoeala) codex of germano-roman rulers (like longobard Liutprand, Charlemagne and others)

Unfortunetely other books you have to find for yourself - as most of the literature about this subject I've learnt from mentioned book and some articles on the internet written only in polish. Yet those two sites should be helpful:

Icelandic Saga Database
Intenet Archive

Written by Vladyka in the year 2013.

Rotting Christ - Κατά τον δαίμονα εαυτού (2013)

Rotting Christ 

Κατά τον δαίμονα εαυτού 

Season of Mist

2013

The previous album of this greek kommando was a big disappointment for me. It had many great riffs, but arranged in such a... Modern way that I really felt that they were extremely fucked up. It simply lost it's power thanks to that. Happily the new opus Κατά τον δαίμονα εαυτού is much better.
First of all the band came to their senses and once again recorded riffs with no strange arrangment. Thanks to that this release is more similar to "Theogonia" and some previous works. Just listen to the opening track "Xibalba" and you will understand how powerfull is the new material! Extremely fast tempos with massive sound goes into calmer, more ritualistic atmosphere. I don't like most of the "modern" metal productions, but in some way it fits pretty good for this band. Even a sound of drums is not as plastic and irritating as on "Theogonia", so no objections here. The riffing is very characteristic for this band - melodic, yet without no doubt still very extreme. And I must say that the vocals of Sakis are as wine - the older the better hehe.
The occult atmosphere is present in every song - it is created mainly by choirs and sometimes some weird style of singing ("Iwa Voodoo"). It sounds unique, really, 'cuz I don't know many bands that use traditional greek music in their music. So this is in plus. The peculiar track is "Grandis Spiritus Diavolos" with lyrics written in latin and choir singing for almost all the song. It even doesn't sounds dark or obscure just... Peculiar indeed. Also on the album we can find one song which is completely from the outside of metal world - a cover of traditional romanian song Cine Iubeste Si Lasa. This song is very dark itself, but arranged with the usage of piano and electric guitar sounds even more haunted... I could write here more about every song, but I think you already got the proper impression that I worship those tunes? Yeah, this album really seems to haven't even a single weak song. Sure, some of them are more listenable than the others, but taking it all together the album is a pure musical masterpiece. It kicks ass when it is suppossed to do it, and it hypnotize you from time to time with outstanding, unique climate...
So generally speaking the diversity of this album is something that I really enjoy, because I can listen to it replay after replay without being bored. But I can't stand only one thing. Each song tells a story (or is inspired) by many pagan cultures, from many places of the world and scattered widely in time. Sorry to say, but for me it doesn't make any sense. I understand to use the symbols of max two different cultures, but we've got here slavic demon Rusalka, Voodoo religion, Mayan underworlds, persian Ahura Mazda etc. I was wondering if I should reduce the rating, because it's really annoying when you can't identigy yourself with the lyrics. But I decided not to do it - after all the music is very smartly arranged and it is quite homogenous. So I leave for everyone if it's good or not. Beside the lyrics the album is really outstanding and defenitely worth you attention.

Rate: 9/10
Vladyka

A videoclip for "666":

Tracklist:

1. In Yumen - Xibalba

2. P'unchaw kachun - Tuta kachun

3. Grandis Spiritus Diavolos

4. Κατά τον δαίμονα του εαυτού 

5. Cine iubeşte şi lasă 

6. Iwa voodoo

7. Gilgameš 

8. Русалка 

9. Ahura Mazdā-Aŋra Mainiuu 

10. 666

Fever Ray - "Fever Ray" (2009)

Fever Ray

"Fever Ray"

Rabid Recs.

2009

Okay, once again I will write here something about music from the outside of metal world. But this time I must also admit that I am not a specialist in this genre, hehe. I am talking about Fever Ray - the solo side-project of Karin from The Knife. And as long as I am not a fan of mentioned band (duo, or whatever) I became a big fan of this project.
And how looks the creativeness of Fever Ray? Well, it's an electronic music - but not very heavy, I would say that's quite easy in listenning and quite melancholic. Some songs are more sad (like the first "If I Had a Heart" or "Concrete Walls") while some are more optimistic (like e.g. "Seven"). But I'd say that every is more or less melancholic, and maybe even a bit decadent. The music is not very complicated, but it has such an unique atmosphere that it draws you in 'till the first song... Well, maybe it's not unique in 100%, because it's of course influenced by Karin's main band, but her solo stuff is much better and contains more emotions - that's count for me more than some weird, meaningless tunes. Fever Ray successfully writes songs that outwardly have no power, no outstanding melodies or anything like that - but they are easy to remember even after a first listenning. Maybe it's because of a great voice of Karin, maybe because of characteristic calm tunes of each song but still - the feeling of loneliness is so overwhelming that I am sure I will listen to this album very often.
So to write it straight - the music is very good. Maybe it's not revolutionery or something like that but it has it's own soul. Defenitely something that I can recommend with all my heart.

Rate: 9/10
Vladyka

P.S
And by the way - the single "If I Had a Heart" was a theme song for "Vikings" series. You can count that I will write my review of this show very soon.

Clip for "If I Had a Heart":

Tracklist:

1. If I Had a Heart

2. When I Grow Up

3. Dry and Dusty

4. Seven

5. Triangle Walks

6. Concrete Walls

7. Now's The Only Time I Know

8. I'm Not Done

9. Keep The Streets Empty For Me

10. Coconut

Din Brad - "Dor" (2012)

Din Brad

"Dor"

Prophecy Prods.

2012

Din Brad is a neofolk side-project of Negru - a drummer of Negura Bunget. It's music bases on the romanian traditional folk tunes, and "Dor" is his (their?) first release.

I have a problem with this album, but it's hard to say why. First of all, I don't like when keyboards are overused in any music - and "Dor" is full of electronic tunes in the background. There are moments when it sounds really amazing ("Doina", for example) but there is also time when they are making music a bit worse. Yes, only a bit - thankfuly it doesn't ruin music. 

Another flaw of this album are a capella tracks - so without any music, only pure work of the vocalist. When I heard first of them ("Poarce'n Suflet Greu Pacatu") I was astonished - as it was great. Generally speaking vocals (one male and one female) on this album are done in the traditional, carpathian style. People who lives in those mountains are very specific, and such is also their music - you cannot mistake it with anything else. So I was surprised, especially when I understood that it sounda similar to the singing of polish highlanders. But then I discovered that there is too much of it - it's simply tiring, and the album looses it's power and cohesion. In my opinion that was a very weak idea - one, or maybe two a capella songs would be great, but five? Come on!

OK, I complaint a bit, now it's time to compliment :) All this flaws bleak (even if not completely...) when you listen to this album gently and alone. As I said, the carpathian way of singing is specific and Din Brad successfuly forged it into a hypnotic, mysterious soundscape. Such tracks like "Durere", mentioned "Doina" or "Cine Iubeste Ci Lasa" (which bases on traditional romanian song, just in new, darker arrangement) are so charged with emotions that you cannot pass them without paying any attention to them! The album is really amazing, so really too bad that those a capella tracks weakens the atmosphere of this release.

Well, to sum it up: the album is worth your attention (if you like neofolk music, of course). It draws you to the mystical trip through the carpathian's valleys - a place of mystery and darkness (how poetic I am, haha)... Before I end this review, I would also like to add that I've seen this band onstage on the concert here in Poland. The music sounded even better than on CD. So if you will have this oportunity - I recommend you to see their show for your own. It's a beautiful, nostalgic trip, really...

Rate: 8/10

Vladyka

Here you can listen to the official track from Youtube:

Tracklist:

1. Amar

2. Imbratisat De Dor

3. Poarce'n Suflet Greu Pacatu

4. Doina

5. Cintecul Cununei

6. Dor

7. Of, Of, Viata

8. Durere

9. Foaie Verde, Odolean

10. Cine Iubeste Ci Lasa 

11. Bradule, Bradutule

(I can't use romanian letters, unfortunetely)