NATTFIOLEN

I've been a music lover since I remember and I can really appreciate various genres and sub genres, regardless their origin. But what really grabs me about music are songs, and when I specify songs I'm trying to separate music with lyrics from instrumental music' I like lyrics, I indulge from the effort musicians put on their compositions when they combine beautiful music with beautiful lyrics, happy or sad, angry or corky, romantic or not, empty or storytelling, I just love them all. My native language is Spanish, I'm from Venezuela, my second language is English, I live in the USA, and then I understand a little of Italian and some written French, but Norweian'.that's a different beast for me'that's why writing this review wasn't an easy task because not understanding what the band is transmitting lyrically somehow lowered my overall appreciation, however Jordsj''s music is so incredible that it just grabs your brain and takes you on a enchanted and unforgettable fairytale trip, a truly overwhelming experience. After the melodic short and flute-based Overture a powerful Stifinner steps in, acoustic guitar, flutes, mid tempo rhythmic section and those enchanting atoned Norweian vocal melodies, I'm easily sold. There's a Howe-like guitar tone here that accompanies the glorious flute before getting immersed in some dark and beautiful instrumental interlude to the symphonic passage, catchy and obscure as hell. Solens Sirkul're Sang prolongs the magic for another 7mins, tasty guitar licks and exceptional percussion with that same flute playfully adding layers of beauty and opening the path to the 70's inspired synths'it's inevitable to feel some Songs From The Woods inspiration around this song, around this album. The double bass sounds extraordinary and leads the rhythm before the slow repeating guitar-based creepiness takes over for the last minute or so, truth be said, this minute or so was the one that made me go over and listen the album again and again. Septemberb'l is a refreshing instrumental piece, basically acoustic (and medieval inspired) guitars to welcome the dramatic and exquisite Mine Templer II. Oftung's flute plying its really outstanding and is definitely a highlight for me. Vocal harmonies return with a piano driven melody, the guitars go backstage for a while and stay there, hauntingly making their way to challenge the flute, jazzy symphonic prog at its best! Til V'ren blends in after a short synth interruption, and the piano pleasantly introduces the new Nordic forest feast, allowing guitars, bass, flute and drumming to interact in a perfectly crafted symphonic ritual (bonfire included!)'I really wished I could understand what the duo is singing about, but my rough guess is that it must be about life, at least that's what it sounds like. Hammond galore, with the guitars and flute adding question marks to the symphony and Fr'land's drumming is so exquisite it deserves a place in the prog drumming emporium, alongside Bruford, Harrison, Peart, Collins and so on. Dramatic but beautiful music, complex but at the same time so easy to digest even with the language barrier. Definitely a top discovery for me! Ulvenatt brings closure to the ride, with repeating sober and beautiful guitar licks, very Camel-like but with its own qualities and technique, with a feeling of joy after the symphonic storm that preceded it, a well deserved rest for the extraordinary musicianship just witnessed. Chapeau and kudos to the band, looking forward to carefully listening and digesting the rest of their catalog! THE END!