Slavogorje - Vrijeme iza nas EP (2009)

Slavogorje are a Croatian duo that mix neofolk, ambient and post rock elements with a dash of raw, pagan metal for a sound quite unlike most. They've been productive in the half-decade of their existence, releasing some demos, splits and a pair of full-length albums, and have now arrived at their latest, the Vrijeme iza nas EP, a short effort with 3 songs in about 14 minutes. The material is pretty diverse, even for so short a release, and you never quite get the coherent picture. But I would be lax not to admit that they've got a truly original craft dripping with potential. Everything is played by Rugiewit and Isar, from the guitars to the pan flute and jaw harp, there is a lot of acoustic instrumentation.

"U Suton Bogova (A Dusk of the Gods)" is soothing enough, a vocal a capella which lasts about :35 seconds before the tranquil acoustics of "Perun i Ljeto (Perun and the Summer)", soon joined with Slavic whispers and deep percussion as the vocals and glistening guitars combine for neofolk bliss. You can also hear some woodwind within there. The track doesn't really develop much, but it does die out for a more somber moment of pipes and synth-induced ambiance. "Vrijeme iza nas (Time Behind Us)" itself sounds like something Vangelis would have written for Chariots of Fire, only with more drums and raw piano. If Tangerine Dream had a pagan metal guitar player, it might sound like this...and this is where Slavogorje are at their most interesting, dreamy scintillating post-rock with no shame for its electronic waves and pretty, wailing male vocals. The guitar does little more than trudge along with a few chords, but somehow its enough to send your mind racing as to the possibilities this marriage could produce.

It's not easy to recommend Vrijeme iza nas, because it feels a little uneven. "Perun i Ljeto" does not live up to its potential, and while the title track is full of elation, it does become too repetetive for replay value. The intro is just too brief to consider. But Slavogorje are onto something. Granted, that something is hardly metal music, and it hardly needs to be. If they can take some of the strength of the last track and apply it album-wide to their next full-length, with a little more variation, it will be something to behold. Also, I love a good logo, and this band has one.

Verdict: Indifference [6/10]

http://www.myspace.com/slavogorjeslavicforces

Ordo Equilibrio Rosarius - Onani [Practice Makes Perfect] (2008)

Cold Meat can do no wrong. Proved time and time again, this is and always has been the unfailing truth. I was surprised to find out that the eroticism-obsessed neofolk of Ordo Equilibrio Rosarius had been added to their roster, but I was, of course, wrong to doubt.

My initial impression of these Swedes definitely wasn't very favourable. Some of the song titles gave off that insincere goth sexiness, too reliant on the awkward use of cheap imagery to give me much hope. The intro did nothing to dispell this judgment - "Glory to Thee, My Beloved Masturbator" kicks things off rather poorly with unimaginative "seductive" statements delivered with all the sincerity of porn dialogue. The poppy electronic beat doesn't help, either, but the song gives a glimpse of what's to come in mainman Tomas' sultry neofolk singing. The whole concept makes sense as soon as you hear him - the calm, hypnotic neofolk style really is quite erotic. Thankfully, things pick up in a major way after the opener - beyond that, the only piece that I have any problem with is "Too Late for Innocence, Too Late for Regret (Four Hands Please Better than Two)" for the bland hip-hop beat that drags down an otherwise perfectly good song. All of the songs are gorgeous and unique, from the Summoning-esque drums and trumpetwork on "CUM, and Let Me Lead You Far Astray" to the interesting juxtaposition of gasps and monk chants on "Let Me Show You, All the Secrets of the Torture Garden"; "(Remember) What You Sow is What You Reap" immediately reminded me of Sopor Aeturnus with it's quasi-medieval sound, while "Confessions of a Sinflower" is a darkwave detour past the house of Ulver.

Because you're probably still uncertain about it, let's get back to the eroticism. This is actually handled well through the music - even beyond the overt samples and references sprinkled throughout the album, there is an intrinsic sexual nature to Ordo Equilibrio Rosarius' sound. It's soft and breathy, but that's not all. Much like the "Roman" orgies cited as a conceptual influence, their music has a ritualistic, almost transcendentally occult feel due to the feminine vocal chorus and synthwork. Unlike "Glory to Thee, My Beloved Masturbator," which is childish enough that I wouldn't really want someone overhearing it on my speakers, Onani's general sensuality is pretty well done. And this is not to say that the album is only focused on sexuality - there seems to be a vein of dark humour running throughout, and some songs point their symbolism in unexpected directions. For instance, "I WILL: Even After the Flowers are Gone", seems to go into the loss of humanity and love due to Christian morality. Now, I could be totally off with that (symbolism analysis is really just masturbation for English majors), but the lyrics talk about still being there after the war on Heaven, so even if they don't mean what I think, they're still pretty damn good on their own.

There are some little blemishes that drag down its validity, but nowhere near enough to overweigh the positive aspects. A must for neofolkies and lovers of calm, beautiful music.

Verdict: Win [4/5]

www.myspace.com/ordorosariusequilibrio

In Gowan Ring - Hazel Steps Through a Weathered Home (2002)

Ok, I'll put it to you straight - I really don't have any interest in American folk. Yeah, Tom Waits is a badass, I like me some Joanna Newsom songs, and I can take the Decemberists as background music. But it just doesn't do anything for me. I absolutely hate acoustic power chord strumming, and your "heartfelt" lyrics aren't going to help any. High school is over, move on already.

Neofolk, and European folk in general, is a totally different story. Not only does it generally stir feelings within me, it also has the spiffy feature of music worth listening to. Sappy teenagers playing "My First Acoustic Song" versus manly renditions of centuries-old Scandinavian melodies? Not a difficult question.

Alright, let's...no, wait. Before I actually start doing the review I'm supposed to, I want you to look at this picture on the right. Look hard. Stare deep into those soft, squinty, slightly feral eyes. Revel in the long curls of his flowing locks.

No, what I want to point out is the gorgeous instrument that B'ee (yes, that's what he goes by) has crafted. Making your own instruments? Hot. Making goddamn beautiful instruments that not only sound fucking great but look cooler than Odin burning churches? Instawin.

This album is fantastic. And yeah, it is from the US. That sounds rather suspect, but somehow B'ee has resisted the banal corruption of Hollywood and channeled his ancestors into the softest folk you've ever heard. Rather than going for the hairy-chested Euro approach, In Gowan Ring is the sound of a young lad, dreaming of being a bard as he plays himself to sleep in grassy meadows. It's so good I had to write such a cliche description, mmhmm.

While some of his other work is pretty lovely, and his other project Birch Book provides more straight-forward folk numbers for the Colonists, Hazel Steps Through a Weathered Home is my favourite of anything B'ee has done. Elegant folk melodies and singing tiptoe quietly between neofolk and psychadelic traditions, making the most peaceful music you could ever want. I spent every day this summer listening to this and watching the shadow of tree leaves on my windowshades.

Verdict: Epic Win [5/5] (I love you)

http://www.ingowanring.com/