FAVNI / EX FAUNS

In the 5 year "break" between "Awaiting the Sun" and "Windswept", FAUNS changed their name to FAVNI, which is German for Fauns, mostly to distinguish themselves from the more traditionally oriented and commercially successful FAUN, also from Germany. Otherwise, the blend of pastoral acoustic folk with occasionally acidic electric guitars and keyboards remains intact. Long gone are the carefree romps in the woods, wholly usurped by a host of more morose moods taking their cue from the likes of PINK FLOYD, MOSTLY AUTUMN, CAROL OF HARVEST, NEKTAR and even the long defunct German neo prog/folk band FAUN from the 1990s.

In spite of their homage to many who have gone before, they manage to navigate an alternative path thanks to their ability to deftly integrate the electric and acoustic. The inclusion of flutes and strings alongside the almost omnipresent acoustic guitar and occasional frenetic amplified bursts is effective, if at times they loiter a little, leading to somewhat inflated running times on a few tracks. The yin-yang of alternating lead vocals offered by Jan-Peer Hartmann and Kirsten Middeke offers additional distinction, even if neither are A-list in that department.

The album's consistency is also its flaw because, while it's all good, and frequently excellent, I can't really point to a standout track, just passages throughout that are brilliant in that ghostly familiar way. And again, as in the last album, with most tracks lying in a certain tempo range, it can take many listens to uncover the gems, the impact somewhat muted by their similarities. Still, the opener "Yearning for You" kick starts the work admirably, particularly in the vocal sections that arrive late and, well, sound like they are aware of their tardiness. The eerie Eastern Euro theme of "Leaf in the Wind" plays like the gripping soundtrack to an adult Grimm's Fairy Tale. "The Visionary" begins as a gentle mystical narrative before dialing up the intensity to a ferocious finish. "Leaving" closes the studio portion of the release in a more uniformly dreamy fashion, with a sweet melody only accentuated by the lush flutes and acoustic guitars. Three live tracks follow, all of which confirm the band's ability to perform their intricate work outside of the studio.

If you enjoy acoustic based prog folk with an edge, don't sweep this one aside. It was worth the wait.

German Prog Folk family band Fauns (not to be mistaken with the German Pagan Folk band "Faun" -- with no "s") issued this very Tolkein-inspired international debut in 2007 to some critical acclaim and then their 2011 followup masterwork Awaiting the Sun before fading from sight. Whether the band still exists or the Berlin-based Hartmann family have gone on to other things or experienced some illnesses or falling outs I do not know; their music is very difficult to hear much less acquire but well worth the effort. They have quite a little back catalogue of albums that never found international release, but if you can get your ears on LeafFall or Awaiting the Sun you can thank me later.

Awaiting the Sun is a folk-based prog album on the scale of ANTHONY PHILLIPS' The Geese and The Ghost.

1. "Scenes From A Dream" (6:30) begins with a delicate weave of multiple absolutely heart- wrenching melodies coming from harmonizing vocalists, wooden flute, acoustic guitars, electric guitar. A middle section of full out electrified rock music similar to early GENESIS momentarily disrupts this bucolic bliss, but the pastoral feel returns to play out to the end with a piano, fretless bass and heavily distorted electric guitar lead weaving the baseline melody from the starting section. (10/10)

2. "Every Wave Its Prey" (4:43) with its SMITHS sound and crashing spacey middle and end sections (8/10)

3. "The Path" (10:10) denotes a return to the ANT PHILLIPS/STEVE HACKETT Voyage of the Acolyte guitar sounds but this one incorporates the alluring vocal talents of violin/flutist Kirsten Middeke. (9/10)

4. "Way To The Sun" (4:56) opens with a STEVEN WILSON-like acoustic guitar strum before being joined by flute, bass and drums. Again we are graced with the presence of the ethereal voice of Ms. Middeke. The SW comparisons continue though an AL STEWART "Infinity" familiarity emerges as the song plays out. (8/10) 5. "A Perfect Place" (10:45) begins with cymbal play, TONY LEVIN-like Chapmanstick play and piano before electric guitar and rock drumming join in (and take over). The song establishes quite a heavy Crimsonian sound with its interwoven arpeggios coming from several distorted electric instruments. By the time the MORRISSEY-like vocal enters the group weave has settled back into the realm of the near acoustic, but, for the chorus parts, the metal-like guitar chord strums return. (8/10)

6. "The Path (Reprise)" (1:49) reprises the chords and melodies from the acoustic parts of 3. "The Path." (9/10)

7. "Dawn" (20:24) finds the band again returning to the GENESIS/STEVE HACKETT/ ANTHONY PHILLIPS realm of pastoral acoustic music. The harmonized voices of a male and a female present the very folk-like melody and lyric lines. At 5:00 a very familiar GENESIS "Cinema Show"-like instrumental section begins; three minutes of absolutely gorgeous music. In the beginning of the ninth minute the Genesis influences continue with an uptempo shift into a full-out rock section with first organ, then flute, then electric guitar playing their solos. Choral chanting fills a brief section before the early ANT PHILLIPS--sounding electric guitar screams through a brief "Knife"-like solo. At the start of the twelfth minute everything shifts to a more RPI folk sound--acoustic guitar strummed and banged for percussive effect eventually turning into a very ANT PHILIPS Geese and the Ghost-like song. The transition from here into a military percussive build-to-crescendo section using a single acoustic guitar's arpeggiated descending chord sequence is so beautiful and so CELESTE/PREMIATA FORNERIA MARCONI. Truly one of the best prog epics to ever come out of the Prog Folk sub genre! (10/10)

A gorgeous album of more prog rock-leaning Prog Folk. The pastoral epic "Dawn" alone is worth giving this album a listen. Truly a classic!

FAUNS second album dispenses with the more overt and cheery celtic aspects of their debut. They continue to espouse woodsy acoustic based prog with occasional aggressive diversions, and the sounds remain pleasant in a generally background sort of way. When they emerge from reverie, the result is perhaps more obtrusive than advisable, so any hope of becoming lost in the grooves is wasted.

Sadly, the moribund pace is not altered one iota whether the passages are strummily dreamed or metallically layered. No "Sprig Within her Hair" or "As Her Autumn Song Called" here. An injection of vivacity is sorely needed and not to be found. The closest would be the opening of "A perfect Place" with its lively keyboards, percussion, and lead guitar before returning to the established mantra all too soon. Here and in the opener "Scenes from a Dream" a downbeat 1980s influence can be discerned in some of the melodies.

This collection of generally appealing songs and epics truly would benefit from the solar warmth which it purports to crave, and would probably be better off disseminated within playlists in a complimentary fashion.

From the city of open minds, Berlin, comes this German act, found in mid-90's by brothers Jan-Peer Hartmann (guitar, vocals), Nils Hartmann (drums, guitar, vocals) and Falk Hartmann (bass, guitar, vocals).The early line-up featured also Maja Langholz on flutes and voice.Fauns were inspired by the books of J.R.R. Tolkien, often dealing with his landscapes through their lyrics, but their early CDR's and demos were circulating only in inderground circles.In 2001 the band had an expanded line-up with Paul Lesny on guitar and Stefan Ermel on keyboards, unfortunately Ermel tragically passed away two years later, replaced by Mira Stübing on keyboards and Kirsten Middeke on vilons and flutes.Finally the band released the official debut ''LeafFall'' in 2007, mainly consisting of tracks already presented in their earlier works.

Fauns' debut is a well-crafted work of folky Progressive Rock, full of delightful melodies, ethereal atmospheres but also occasional harder moments to spice things up a bit.The tracks are rather long (despite the album's short length, just 40 minutes) with decent to superb arrangements with flutes and acoustic guitars leading the way, supported by keyboards and heavy electric guitars.The vocals, both female and male, are great, having a strong archaic flavor, especially the voice of Maja Langholz is absolutely crystal-clear and dreamy.The production though makes no minunderstanding, giving the group this nice combination of the modern sound with the nostalgic vibes.Very good melodies are offered through the very nice guitar work, elegant and memorable flute parts, the dramatic violin parts and the smooth piano lines, creating intense soundscapes from the past, sometimes built on excellent interplays.At moments the compositions have a light symphonic flavor, thus bringing to mind bands such as compatriots EDEN, HOELDERLIN and REBEKKA.

It is really a shame how this band remained unknown for such a long time, escaping the prog radars.This interesting Progressive Folk Rock with no weak moments make the album strongly recommended...3.5 stars.

Today's lesson is on musical alchemy and interbreeding, German style. Take the two progressive bands from that country both named FAUN and blend them together, then fold in the classic CAROL OF HARVEST disk from 1978 and a postdoc in Tolkien, gestate a few years longer than normal and "deliver" a mature litter of FAUNS in the form of their debut full length disk, "Leaffall".

The medieval group FAUN has imprinted its somewhat dark acoustic reverie here, and the moodily metallic blasts and jarring shifts recall the neo prog group (who nonetheless exuded almost as much folk personality as a neo group can) FAUN from the late 90s. The brilliant album closer "Cuiviénen" sounds better with every listen and meets the quality standards of the original tracks from CAROL of HARVEST. If you don't know any of these bands, let me just say that a couple of the more sprightly tracks owe much to what JETHRO TULL delivered on "Songs from the Wood", but the vocalists contribute to a fluidity that Mr Anderson knew enough not to attempt.

For all its alternating grunge attack and elfin musings, this is a cohesive work with an undercurrent of the otherworldly and underworldly coursing through it and bursting forth determinedly. A congenial companion for the Fall to come.

Berlin-based Fauns now include a follow up album to their stunning debut Leaffall (over which I "fawned" effusively!) and while the kitchen menu remains pretty much intact , some of the cooks have changed, with the departure of the lead guitarist Paul Lesny , keyboardist Mira Stübing and Maya Langholz' rather magical female vocals. 'Kein problem' as new keysman Jan Hecker-Stampehl is in and the vocals are handled by the three male Hartmann brothers who alter the overall mood only very slightly while flutist/violinist Kirsten Middeke provides the continuance of Maya's vocal flame . There is that same strong folk vibe intertwined with some harsher guitar sounds (which made Leaffall such a joyous surprise) but now owning a perhaps more refined sound. The screeching leads are goose bumping, the keyboard colorations grandiose and the acoustic guitar continues to sparkle in the gothic mist.

As with the debut, this sophomore recording has 3 ambitious pieces that simply startle and stun. Two explosive 10 minute epics "The Path" and "A Perfect Place" combine with the 20 minute finale, the luscious "Dawn". They alone define clearly the style and scope of this original band as described on their website: "The Fauns combine acoustic instruments with rock appeal, folkloristic influences with elements of progressive rock, melancholic moments with sound explosions. Flutes, viola and various acoustic guitars interact with keyboards and electric guitars; complex structures and odd time signatures are an integral part of the musical style. There is no one category into which the Fauns allow themselves to be put; their music thrives on the variety of its different influences, the unifying element being intensity of emotion and atmosphere". Jawohl! The truth lies amid the wondrous tracks that merge splendidly into the ultimate prog-folk escapism, conjuring up deep and vivid images that seem to weave serene shadows with dark wisps of lore. The occasional mellotron swells laced with acoustic guitar rekindle fond memories of early Genesis circa Trespass, the lush male vocals and atmospherics will wink at Mariusz Duda's Lunatic Soul and the attention to detail is simply sublime.

"The Path" is perhaps the finest piece here, full of breath, contrast and musicality. The main melody is achingly gorgeous from the get-go, a shiny musical corridor on which the emotion is layered exquisitely, lush with vivid and romantic passages, again shepherded by twinkling acoustic guitars and sweet yet trembling child-like vocals from Kirsten. The flutes flutter, the piano pounces and the bass booms mightily. Time is not of the essence, as the dreamy expanse slithers forward, enchanting and voluptuous. The mellotron-laden finale is straight out of the early Genesis catalogue, stylish ebb and flow with bird chirpings for effect. Stunning!

"A Perfect Place" is harder-edged, gritty, rambunctious and swooning, flowing from one extreme to another, where greasy guitar drones collide with lush acoustic orchestrations and finally providing a melancholic lead vocal that seems almost dizzy and soporific, as if trekking through a dense forest carpeted by magical mushrooms, disobedient branches and rebellious shrubs, occasionally disturbed by a furtively muffled wild animal growl. Welcome to the land of grey and black, awaiting the arrival of the sun. This is not quiet and placid at all, by any stretch, testimony to the band's musical vision of constant change.

"Dawn" in contrast, takes it sweet time in blooming, a languid acoustic guitar crescendo is first established, weaving a sophisticated melody that is supported by flute and mellotron, both languorous and seductive , beckoning the somber male and female vocals as if a chant dedicated to the arrival of the light that warms the earth. The extended and intricate guitar work is elevated by a superb organ solo from the new man, abetted by some forceful drumming and ultimately spiced up with dazzling flute. Only then does the electric axe kick in, albeit only to ratchet up the tension with fuzzy restraint and endless sustain. And then, it's back to square one, start all over gain, creating a bewildering sense of timelessness, serenity and imagination. The marshalling military snare drum assault only appends dimension and depth, raising the forlorn heartbeat of one's contentment.

The shorter tracks are no less invigorating, from the soaring introduction "Scenes from a Dream" flavored by some group harmonies and stormy guitar waves, then the swerving and crescendo-laden "Every Wave its Prey" and finally the cymbal-infected and violin scarred "Way to the Sun". All three are mini-symphonies , absolutely stellar pieces of the sonic puzzle.

Another bombshell release that has rocked my progressive world, fans of prog-folk need to add this and 'schnell' to their collection. A perfect companion to Leaffall and proof that Fauns is a frontrunner to behold, owning a place of prestige in the prog-folk sub-genre. 5 Insomniac Teutonic Elves

I took a deliberate plunge into the unknown when I ordered this jewel, hoping that my prog GPS/radar is still honed to the max, despite my advancing wisdom (ok, age!). This German prog-folk newcomer released this debut in 2007 with little or no recognition and it's a damn shame! One word describes this sensational recording = WOW! Similar in line-up but different in sound to Swedish sympho-prog group Introitus , this is a union of a Berlin family of musicians , the Hartmanns specifically Jan-Peer, Falk and Nils Hartmann , aided and abetted by dedicated friends to put together a fascinating album that offers , in their words "Music that tells stories - music off the beaten path". Good old JR Tolkien is the basis for the stories, in some cases using his Elvish dialect lyrics to adorn the songs such as" Tauriel" and "Cuivienen". Three epic tracks conspire together to elevate this recording to dizzying heights, the sensational "On Misty Shores" (8mn36s), the drop-dead splendor of "Dead Winter Sleep"(7mn 28s) and the Celtic-tinged "Cuivienen"(11mn 00s), a triumvirate of absolutely first rate prog-folk that has few rivals. The various shorter tracks are no slouches either, holding their own brilliantly. On the majestic "On Misty Shores" the true nature of the modern progressive folk element comes into play, where seductive acoustic instruments (piano, recorder, violin, viola, flute, acoustic guitar) are blended with rock tendencies, namely well appointed guitar riffs, firm bass and brawny drumming. Maja Langholz has a crystalline voice that can flutter towards the angelic but also croon convincingly. The overall mood is perhaps akin to a mellower version of White Willow or a harder version of Norse folksters Shine Dion, both being rather amazing groups with a high level of talent. The raucous electric guitar remains in austere contrast to the otherwise serene arrangement, just a sizzling track that deserves massive applause. "The Sprig Within her Hair" is more traditionally medieval/ folk, male vocals evoking the spirited melody like some jaunty troubadour,, heavily misty with the usual suspects (the lake and the lilies fair) , again a delightful little ditty. The enormously ravishing "Dead Winter Sleep" is a perfect example of why this genre is so ultimately progressive, combining a simple woodwind melody with woven chords of acoustic guitar (amazing solo) and a stellar lead guitar (riff and solo) intervention. Maja sings with shimmering fragility, elevating a haunting chorus to a celestial pinnacle, without any question, this is a magnificent masterpiece that will remain imprinted on your soul for decades to come. The perfect prog-folk tune, loaded with tiny musical details that shimmer in the winter's sleep. With "Tauriel" the violin shepherds the string synths forward, a male vocal that exhorts words that sound like Finnish but in reality are probably from Tolkien's creation of the Elvish language. The weighty folk tendency is upfront and direct, laced within a veil of simplicity and beauty..

"As Her Autumn Song Called" is within the realm of a brisk vocal duet, with woodwinds galore, lyrics sung in English and Elvish, a terrifically rolling song that evokes the country fair (hinting at all the traditional baroque/renaissance idioms). "Lassilanta" is a short recorder solo, a brief respite before tackling the epic finale. "Cuivienem" is the 11 minute show stopper that begins with utter vulnerability, Maja and a guitar conspiring within the loveliest of melodies, as the Elves look up towards the endless night and wonder. A slow oozing lead guitar adds a sprinkle of sizzle to the brewing fire, a masterfully spun web of shadow and filigree, gossamer silks and wisps of heady vapors, supplied by a myriad of instruments performed with perfect dosage. When the piece opens up, the electric guitar decides to go on a tear, little bravado but exquisite in expression, elevating the symphonics to grandiose levels. The keys and synths only add more ornate decoration to the piece. I have fallen in love with this recording, urging my collab colleagues in prog-folk to include them ASAP (which they have, thanks, gents!) and now I must purchase their 2012 release. A massive revelation. Ausgezeichnet! 5 Berlin forest gods