Tusenårseken – Omhuldra
Band: Tusenårseken
Title: Omhuldra
Label: Grind to Death Records
Release date: September 6th, 2024
Country: Sweden
Format reviewed: High-quality digital recording
The title Omhuldra is a wordplay in Swedish. It is a combination of the word for cherish and Huldra which is a guardian spirit of the forest in old norse folklore. The meaning is ambiguous and could give some insight in the spiritual purpose of the album. Take care of the forest the way the Huldra would, or redo what the Huldra did or should have done. It can hold an extra meaning of embrace or encircle. However, the use of wordplay in the title comes dangerously close to parody. As it turns out, this ambiguity of the purpose of the album and the balance between sincerity and mockery will be present all through my listening experience.
Omhuldra consists of a blend of styles that never really form a whole. Rather it feels like a patch work. Right from the start, Tusenårseken display the clean vocals that will come and go through the whole album. The shamanic drum beat and pop song vocal style in the beginning let us know right away that this will not be your classic black metal album. Still with an open mind I am confused.
Soon the shamanic pop is replaced with black metal style guitar riffs with a moderately high speed and engaging blend of harmony and dissonance. Production is raw which goes well with the guitar work but not with the pop style vocals. The drums sound programmed which also works quite well to create a hypnotic atmosphere with the intricate guitar stems, but they are too boxy for the pop song parts. The music of Omhuldra is uneven but the patches that are good are truly interesting.
As the album continues, I get increasingly frustrated. The good parts are drawing me into an immersion. For moments I am in the forest, and I can see a hint of the Huldra behind the trees. It is a lush and green forest and the Huldra presents in her young and playful aspect. There is something enticing in the unexpectedly woven guitar melodies. I want to follow them deeper. Unusual use of major chords creates tension and expectation, and the unexpected turns in the hypnotic guitarwork catch my attention.
But no sooner have I closed my eyes and started to follow the faint giggle of the Huldra before a troll jumps in front of me and starts bursting out false chord screams in words inaudible even though I am native Swedish speaking. I was already in the forest; I didn’t need a troll to tell me. And soon the troll gives room to the pop singer who erases the forest all together with harmonies and melodies so generic I am sure I have heard them with other lyrics on the national radio.
Then again, a patch of forest with fry screams well balanced in the mix, adding to the atmosphere, and so the troll comes back, this time with a cough, then the pop singer, then a Viking metal choir, and so it continues.
It is obvious that the vocalist is competent and master all his techniques, except maybe for the false chord troll. The problem is that all the different styles and the frequent switches between them transforms the atmosphere from forest of the Huldra into a Disney land park. The subtlety and seductiveness of the guitar work at some stretches get completely overpowered every time a new vocal character jumps down and takes centre stage. I find myself wondering if this is meant to be parodic. Am I the idiot for taking it seriously?
Well, with that skill and talent and that capacity to channel the playful and lush aspects of the Huldra, still with the hint of deception and danger in that enticing guitar work, Tusenårseken owe it to the world to take their music seriously. At least a little bit. Because this is the thing. Omhuldra has me hooked. Despite the cartoonish vocals, I find myself longing back to the lush forest patches. The consequence of this is that I get irritated over and over by the interruptions and that is how you inspire a critical review. Be good enough for your unfortunate choices to make a serious impact.
When the shamanic drums return in the second half of the album, I realise this strange and almost jazzy song could have been an interesting break if I was not already so overwhelmed. With minimalistic background of hand drum and acoustic instruments, the clean vocals are slow and agonized in a way that would have made an impact. A clearing in the woods, a small lake glittering in the brightness of day. The contrast would have allowed the song to shine.
I wish Tusenårseken would create a different project for the versatile vocalist to practice all his talents. Or make themed albums where every vocal style could find its own place without competing for the attention. Omhuldra is spanning over so many styles I don’t know who the intended audience would be. Maybe the audience of Vintersorg, Wardruna or Gaahls Wyrd would appreciate the vocal dominance, but I suspect that they would instead be put off by the drums and production.
6/10. Please omhuldra. I know you can huldra better than this. by Ask den Hängde
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