A major strength of the titles on Eden: The composers take their time. The point is not to get into a few bars to the point. The music evolves casually, but this more consistently from a few basic motifs. This rationale can be found in each title, as well as in the macro-structure: Lvpercalia and Zeitgeist represent an enormous challenge to the listener is, harness him to the torture and his restlessness is stoked to have suddenly run every reins in Iduna. With "The Butterfly" is the first recovery phase, which leads on to the elegant moderately moving Adam Lay Ybounden that dares an unusual mix between pulsating vocal parts and lyrical instrumental sequences. By the tempo gradually increases again, following the exposure a broader implementation: In the mesmerizing "Hymn to Pan" the voices come back to their traditional, lyrical role that music is homogenous and flowing. From Hypnosis awakens Pearl gently, combining certain rhythms with her enchanting song. This line continues in Oyneng Yar first. Polska Fran Larsson provides the first real cut. It is as if the music for the first time really brought air to put brand new. But soon it becomes clear that here resonates the same spirit - only the instrumentation has changed: the now so familiar flutes have rediscovered old acquaintances in lute and lyre. At this point ("Alba") dares the singer's voice for the first time to take a clear leadership position: flutes recede completely and allow deeper sound spheres precedence. A soothing mood invites you to dream. That Fiona's unmatched flute craft as early as next title "Ynis Avalach" moves to the foreground, the listener can take hardly evil. To be honest, he could not expect it so come and will gebürlich rewarded with the almost familiar bagpipe it. Instead of the album at this point supply with few drumbeats the end, a new tension is built up with Arcadia. We seem to be on top again, the references to Lvpercalia are adorable, the atmosphere captivating to overwhelming: Faun can be time again: The last three titles are among the longest of the album. But with "The Market Song" is quite clear that it reaches the end. It sounds like a desperate-powerful Abschiedslied where again all the stops are pulled before "Golden Apples" a painfully-sweet ending forms, which leaves a lasting impression on the listener.
The second strength is the daring to break conventional molds. The instruments are granted conspicuously long solo improvisations that sometimes even compete with the vocals - about in Hymn to Pan demoted the vocals at times to accompany the outstanding confident flute (similar Oyneng Yar, The Market Song). The boundaries between verse and chorus. Very effective individual passages than usual are often repeated, so that they blur the formulaic and give the rhythm opportunity to emancipate themselves. This is also one of the weighty points, distinguishes the Faun of conventional productions for the mass market: The individual parts of the composition (rhythm, melody, instruments, clock, verse, chorus, language, ...) are emancipated without the overall picture in a grandiose chaos among would - quite the contrary! If well after the half Ynis Avalach the bagpipe suddenly just disappear and a lovely flute begins with a completely new rhythm, the first thought of the question applies to the audacity of such an incision. But where you want to complain straight, one is enchanted by the new sounds and has forgotten all objections.
Since each processing culturally different currents to the specialized fields of Faun belonged. Perhaps they have simply delivered their masterpiece in this category with this album. Altenglisches, nordic and oriental cultural asset are here as a unified whole. The most unusual timbre contrasts less than they appear to be mutually dependent here. It seems to as if they were composed of a subtle reason that leaves the listener in astonishment. Every time I hear the album, I wonder how it could succeed, so managed to unite these apparent opposites.
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