VON HERTZEN BROTHERS - RED ALERT IN THE BLUE FOREST
An enjoyable album which contains elements of genius.
Finnish band of brothers release this, their eighth studio album, a solid work which puts one in mind instantly of the beauty of the Scandinavia they hail from, and the deeply held concerns of the band, and, indeed, us listeners alongside a host of artists in recent releases, at the prospect of climate change altering such beauty irrevocably.
This is a very accessible album, enjoyable with, in parts, moments of genius.
The climatic theme hits you immediately from the opening seconds of Day of Reckoning, with its stormy rainfall leading into a narrative holding some distorted vocals signifying the danger we are in. All three brothers, Mikko, Kie, and Jon share vocal duties, and the harmonies are very strong. The keyboards of Robert Engstrand are very much to the fore, as well. The track develops into a standard rocker until just before three minutes in there is such a distinct change of direction and tempo for half a minute that it is somewhat unsettling, and not a natural fit with what preceded it.
The Blue Forest of the album title is up next. You can, incidentally, view paintings by Finnish artists inspired by this and other tracks on the album at https://www.vonhertzenbrothers.com/the-blue-forest/ It is well worth a look. The mood change on this is welcome, with a fragile vocal accompanying singular keyboard notes and a soundscape rising above that. This is not a happy lyric, talking as it does of asking why we left lovely life to die. There are some passages of beauty in this nine-minute track, though, especially where the band talk about the forest and the life it contains, but everywhere, especially in the disturbing effects, relentless percussive beat, and minor keys employed, this is a song which is not going to get you up to dance a jig, to say the least. I do, though, really enjoy the up-tempo bongo and dancy bass line employed six minutes in, and the track expands in a decent crescendo of theatrical noise, and it is really from here that I first sat up and started to take an enjoyable notice of proceedings, with the closing section especially very reminiscent of latter-day Radiohead.
There are eleven tracks on this album lasting seventy minutes. The Promise features some heavy strings provided by Max Lilja and Klaara Pyrhönen, whose dark violin is very convincing. I really like this track, rooted as it is within the Scandinavian folk tradition, but with a mix of electronica and pulsating beats which add a rather dystopian feel.
All of a Sudden, You’re Gone has a nice, although sad, pastoral feel to it, with delicate vocals and harmonies supported by a far lighter violin and acoustic guitar. Some two minutes in, with the rise of the ghostly guitar and keyboards, it is easy to imagine you are listening to piece of music from the late 60’s psychedelic era, and this merges with a fragile orchestral passage of brass and strings accompanied by chants and vocals. When two minutes to the close, this passage segues into something far bigger in volume and intensity, you know that this is a special piece of music which utterly captures the imagination and senses.
Peace Patrol is the longest track here and lasts 10 minutes. As it commences and progresses, I am reminded (in a nice way, because I enjoy the period) of Moraz-era Moody Blues. Then, just short of five minutes in, you get a blast of the finest sax solo I have heard in many a year, a real feast for the ears. By God, it is damned good, and it soars above some beautiful keys and rhythm undertone. This passage of music is worth the entrance fee alone before it morphs into something altogether more expansive and heavier as a guitar riff takes centre stage. As the track closes, that sax returns, but far more subdued against effects. This track is a highlight of the year’s music, and you can listen to it below. Enjoy. Quite incredible and special.
Pirates of Raseborgian is next. This website always seeks to provide its readers with some cultural knowledge, so Raseborg is a town on the southern coast of Finland between Helsinki & Turku, and Raseborg Castle was, apparently, the site of numerous battles with said cutthroats. It looks gorgeous https://www.visitraseborg.com/en/ The track has a deeply quirky tone to it and is so distinctly different to every song before it, but it is fun and the band certainly sound as if they are enjoying every minute of it.
Anil translates as wind from the Sanskrit language and the opening is a stark contrast to the pirates with a lush acoustic guitar backing a lovely vocal which speaks of travelling far and drifting on the wind and creatures with vivid colours flying above. Indeed, the whole piece has that feeling of a light summer thermal used to glide above the earth below. This is another very nice pastoral piece of music which closes in a lovely wall of sound with voices, strings, and effects. Wonderful.
Elbowed opens with a burst of sax and brass and another thoughtful vocal passage which is a love song at heart talking about a life being transformed by meeting a love. Two minutes in, we have another orchestral passage with some soaring violins which give way to a wonderful guitar and keyboard duet. This song has hit single written all over it, deeply commercial and very cleanly produced as it is. I love the sax-led jingle and anthem at the close.
Northern Lights follows, and I have read that this track features an actual recording of said Borealis. The bass lead when it enters is like some of the noises heard on Meddle and they underpin some lush keyboards and a good drum riff created by Sami Kuoppamäki. This track is dreamy, psych, but with a thumpingly heavy final minute and a half, with great sax and brass riffs, and is further testament to just how eclectic the band and album are.
Söderskär is the home of a lighthouse in some islets off the coast of Finland. It is a short track and returns to the pastoral feel. The gentle piece evokes the image of us standing alone watching and guiding the freight ships along the treacherous coastline.
Disappear There closes proceedings. We are once again on a sailing ship and the concertina brings us a quiet shanty at the opening. The bass acoustic guitar is lush accompanying this, and when wind is introduced alongside the synth, this leads to a gorgeously fragile vocal talking about “the pilot in me falling out of the plane before it crashes” and wanting to disappear and go to that faraway place. This beautiful piece of music is a suitable conclusion to a fine album.
What we have here is an album which is thoughtful and once you “get it” (and it did take me a few listens), quite stunning in places, lush, pastoral, heavy, and strangely quirky, so a real smorgasbord of music. It works, though, and is a favourite of mine in a very positive year for music.