Wintersun - Time I (2012)

Wintersun is a band that, in a way, didn't actually need to release another album past their first one. It belongs to this small number of bands/musicians that wrote a magnum opus, a 9th symphony, straight from the beginning. Jari could have rejoined Ensiferum or made other, easier (and faster!) projects that would have sustained him as a professional musician, leaving this album as a single offering of excellence and a producer of eternal fame. Instead, he's been struggling for over than 6 years to come with the sophomore album, striving to widen and perfect even further his vision; for that alone, he is a hero of some kind. There is no epitome of perfection in the world and even "Wintersun" has pretty obvious faults and weaknesses that might make one think "what if..?" However, it is a rational "what if" in the aftermath of a total spiritual success. With great and complex music such as Wintersun's, the threads of magic are not clearly discernible and one playing with them risks a lot. For every solution two other problems might occur, for every "fault" that is fixed an emotion might be subdued. Jari seems to have understood that. Time, coupled with patience is certainly the greatest advisor. 

"Time I" is an album that expands in many directions beginning from the debut, however the question is; does it stem from a similarly vibrant source of inspiration? Surprisingly, it also features even more obvious faults than the first one on the production side, that sometimes detract from the listening experience. Jari has took up the production and mixing himself in this record, a decision I applaud as it is the best option for composers of complex and elaborate music, as its nuances can hardly be understood by anyone except the composer himself. However, some of his decisions are peculiar (and they certainly are pure artistic decisions, he sure had all the Time in the world not to miss anything). While I'm theoretically very positive to albums that sport a wide dynamic range, "Time I" features severe loudness fluctuation that makes me either jump from my chair or reach for the volume control. I imagine that, in the course of increasing orchestral influence, Jari wanted to give the dynamics of a symphonic orchestra to his heavy metal band. The problem is that it's not always done correctly, or that it is overdone, it seems as the instruments are squashed of their natural dynamics typically for a modern metal production and then programmed to the desirable; it feels unnatural at times, like you can see Jari's hand moving the faders. Also, the drums are unexpectedly buried in the mix and the bass is often untamed (perhaps unlike the majority of Wintersun fanbase, I don't see so many Hollywood blockbusters as to enjoy hearing an earthquake in the middle of a song). Negatives aside, the production is still much more powerful, atmospheric and expansive than "Wintersun", largely because of the bigger prominence of various layers of synths and effects. It is actually a very bold and original vision that, if perfected in Time part II, will be something totally unique to the metal world, in which the orchestra had been always subdued in the mix and conservatively used as another synth layer. For "I" though, I wish Jari had a professional mixing assistant (or an opinionated mastering engineer) in his side that would trim off some of the excesses. 

Let's go at last to the music. There are no great stylistic changes comparing to the debut, to put it bluntly and non-poetically, it seems like an orchestral, pimped-out-in-every-aspect version of it. This might sound bad, but in reality it is what everybody probably expected and wanted, and actually is an amazing feat of courage and inspiration. The album's intro, "When Time Fades Away" is a foray into the epic midi territory that is on the same level with the music of some of the best game composers out there (and perhaps there's even an influence from the Japanese ones). The first real song, "Sons of Winter and Sons" is almost like Wintersun passed through the bombast of the "300" soundtrack or these "Two Steps In Hell" guys. These horns are sure damn loud, but the essence of Wintersun's music does not lie there. It is in their glacial, pure as childlike wonder sense of melody and harmony, in its frantic and inspired progressions, in these amazing climaxes of emotion. Is any one these here?

After 2-3 listens, the mind begins to recover from the shock caused by all the bombast and begins to notice all the small details, the second and third voices/melodic lines, being able to really go along with the song as an active listener. The answer is: YES. "Sons of Winter and Sun" is a triumph for the band and will always go along "Starchild", "Winter Madness" and I dare yet say, "Way of The Fire" as one of their greatest magic spells. The level of complexity and density has risen, as there is no single guitar line without its counterpoint, while in the background there lies always an orchestral arrangement playing, a traditional Japanese flute, harps, female voices, choirs. The themes of the album hardly are presented with repetition as in typical heavy metal fashion, but are adorned with constant variation, leading into each other almost in enthusiastic hastiness, before one has a chance to fully absorb them (thanks Zeus for the replay button) - as the melodic vocals of Jari are this time more prominent, together with the virtual orchestra they take many melodic lines away from the guitars, so it makes sense to talk about themes rather than riffs in this album. "Son...” alternates between destructive anger, angst, beauty, mystery, powerful determination, awe, enlightenment. It goes directly to being one of the greatest heavy metal songs of history for me.

I never was a huge fan of the slow Wintersun songs, which says a lot about how much I love the fast ones. It perhaps has to do with Jari's background as a shredder, or that he simply needs more space to fit in his long evolving melodies, but to me, they are in the same level with Ensiferum's best songs, which is to say "just good" (Moonsorrow are the masters of slow and epic Finnish folkish metal, just so that you know). So when "Land of Snow and Sorrow" begins, my expectations are not the highest. It does not shatter them completely, but it manages to hold the album in a quality level. Here, the orchestral instrumentation backs off a bit and stays in the background as in the first album. Like the other slow songs in "Wintersun", it is almost mono-thematic and with the exception of the expected, but adventurous middle section (which reminded me a bit of Devin Townsend in the end, was curious to see if this influence would finally materialize) it is just nice to listen to. Even though I like the basic melody, one cannot expect to keep high interest by elaborating on it for so long, except if this one is Beethoven, say. Moderation isn't Jari's strongest point as a composer; however he's fighting it, understanding the need for a break in the intensity and pace of the album. In an eight-song album, this one wouldn't be a problem, but in this shortened to half 40-minute edition of Time, I feel I would have welcomed something stronger.

"Darkness and Frost" is a short, two-minute introduction to the brilliant basic melody of "Time" and should have been left as one track altogether, meaning I have the feeling they were divided rather than intended as separate tracks from the beginning (hey guys, some of my favorite metal albums are comprised of four tracks!) So, "Time", here we go; the same-titled track of the original intended album, assumably the stronger or among the 2-3 strongest tracks of both Time I & II, it is hereupon that you are judged (at least until the second offering). I'll cut the drama short, there is enough in the album; it's the second fucking triumph of the album. This song features some irritating loudness fluctuation as well so I had to put headphones in quite loud volume at this point, which seems to be the correct way to listen to this album (I can't say about monitors as I can't put them as high in my apartment, but oh Jari, I sure hope you didn't mix this way).

Get ready to be faced with endless layers of melody here, I am truly at a loss to describe the depth of emotion and the immensity presented. I will say that this song is perhaps his culmination as a composer as of yet. The song's also comprised of a small number of basic themes, but like the great classical composers, his treatment of them via massive orchestration and delicate counterpointing so masterful that one is swept by the flow, forgetting all about themes of structures or where exactly are we in the song, how long until it finishes and so on, living only in the Magical Now. Is this Wintersun's treatment against Time, to extinguish it, at least for the duration of this song? "Time fades away - you'll never be the same" - it seems like an obvious statement, probably juvenile in the context of the lyric sheet of a music album, at least for the "mature" or "tasteful" listeners, but Jari with his dramatic treatment returns to it the importance it deserves. Metal music doesn't need to use long words or Wittgenstein references in order to be philosophical, it just needs to address these eternal, simple questions with the immensity, conviction and depth that is needed for the listener to confront them and make them his/her own. "Time", the song, doesn't even need to burst into blastbeats or maniacal chord progressions to enchant us, the purity of its melodies, its glorious somberness suffices to lift up our souls into the skies. 

Probably Jari's greatest victory against time is that his music will be eternal, surely to be heard in the ages to come. Gustav Mahler has said "Nothing will stand the passing of time, except this which has been perfected upon in every detail". I don't know if this already has been the motto of Jari, but he sure works like he's known it forever. On the other hand, "Time I" is not entirely satisfying to listener, as it leaves one dry, ending at the moment the enthusiasm reaches its greatest peak. It doesn't really feel like an album, with its three songs and one intro and personally I will be ripping both albums and putting them in the same folder when "II" is hopefully released. I'm certain it will take about a year until I can really follow along to reach to the end without having it melt my brain, but until then it will at least feel better conceptually. Therefore, any attempt to make a comparison between the two albums should wait until then. It's also interesting to note that, for me at least, the essence of "Wintersun" lies in basically just four songs that transcend to reach the plane of divinity; with "Time I" I believe we already have two. 

The greatest thing with "Time" is that is transcends expectation, it shows that there can be hope against the law of mediocrity, that there are people who can rise into excellence more than once in their lifetime, that can face the destructive winds of Time and stand strong. But, hey Jari, don't just chill and rest yet, you've got a second part to deliver (and please, be extra careful with these faders!). The rating is just for Wintersun standards - there's absolutely no one else in their league. Oh, and remember to listen to this with good headphones - and loud, please. 

 95/100

Artefact - Ruins (2008)

In my previous review of Darkenhöld's - A Passage to the Towers I mentioned that Aldebaran, although creating a series of very good albums, had never reached the focal point of excellence; getting back to Artefact's magnus opus, Ruins, I am forced happily to make a kind of renounciation. For me, "Ruins" is the best album in the Emperor/Dissection school of melodic/progressive/epic black metal, since "Storm of the Light's Bane" and "Anthems to the Welkin at Dusk". Don't take this as an absolute statement though, as I can't say I have heard that many albums in that particular style. In fact, it remains that this album got minimum attention until now, except perhaps some positive reviews and a spot that was given to the band at that time in Wacken. 

I believe Artefact did a "mistake" here that made sure of the band's relative obscurity into the black metal circles. They got too progressive and complex for the ears of a black metal listener. Complexity into a Deathspell Omega record for instance is mostly in the fields of atonalism where no real sense of harmony exists, but an alternation of monochromatic, dissonant chords, which could be random in relation to one another and still create a similar kind of effect. Artefact however, are purely harmonic; harmony is like a straight line, if you get lost in the way there is no getting back. They are also quite technical on the rhythmical department and of course, like any black metal band that respects itself, speedy and rushing. In addition, there is not really a slow or simple song in the album, with the exception of some moments of brief rest here and there. The end result is a record that sounds overwhelming and mind-numbing from 3-4 songs and on. Professional producers always make sure to put slower, more atmospheric songs in an album of dense music, so as to make it be heard from beginning to end, to constitute a bigger, sum-is-greater-that-the-parts, experience, as did the classics with their symphonies, by the way (and to think how dismayed they would be by seeing modern audiences still last no more than a couple of minutes).

With "Ruins" there is also another defining characteristic; the first song of the album is obviously the better. The band seems to suggests us this itself, as there is a 7 minute piano rendition of it as the closing track, and the intro even plays with its basic themes in order to lead into it. Indeed, "Gargoyles Unleashed" is definitely the catchier song this band has ever produced. It leaves one breathless with its merciless exposition of epic and rough melodicism, running wild like, indeed, a storm of 1-tone pissed off flying creatures. It is the "Night's Blood" of the band, a song that will hopefully remain classic as an example of excellent black metal in the ages to come. While in Dissection's opus, however, follows "Unhallowed", a much simplier and melodic black metal song (and then even, the catchy hit, Where Angels Lie) here we have an even more complex, multifarious song, Medieval Ancestry, and it just goes on an on like that. I admit than in previous listenings I usually stopped after some songs, kind of frustrated, to relisten to "Gargoyles Unleashing" and finish the session, a probably criminal mistake. But this shows that albums like these should not be listened as a whole, but as 2-3 songs at a time, until one feels familiarized enough with the content to follow it all in one shot.

And indeed, with Ruins, this approach absolutely pays off. Medieval Ancestry sounds like an exploration into the mysterious and complex threads of history, alternating between anxious struggle and glorious discovery, between technical, thrashy riffs and melodically advanced black metal. It is too an absolutely fantastic song and a paragon for progressive black metal. After the vocal, monastery-sounding interlude of "Catharian Ruins" the onslaught continues with the Emperor-ian "Reverence" where the guitar fury begins from galloping techno-thrash to reach an emotional crescendo with " " shouting dramatically over an almost orchestral sounding arrangement. What is really formidable about this record is that even when it falls back into a relative melodic calmness such as "In the Fountain of the Enchantress", it does not allow its melodies to recieve a non-adventurous evolution. "Fountain" ends in a satisfied manner, in a major mode that might even remind some of fellow dreamers Alcest. "My Inner Sanctum" almost carries from there, indulging into romantic, twin evolving melodies. Synths join with guitar leads to portray audially sacral places of beauty amidst constant dynamic movement, like a forest of stubborn, ancient trees throughtout the violent changing of the seasons. An excellent instrumental that makes me think that Artefact could make a successful living creating music for rpg's if they wished. "Curse of the Wizard" totally crosses the line of accepted song titles and is probably the weaker song of the album, so off we go to "Stellar Winds" which is another highlight with its almost hollywood-sounding melodies (I think of John Williams when I say that, don't frown please) and progressive playfullness. "Finale" (yes, titles isn't exactly their strongest point) unfortunately doesn't impress much as it seems like a filler made out of rejected riffs. With an album of such density, 60 minutes is probably unnecessary and Artifact would do better if they had the courage to leave out one or two of the weakest songs. Of course, nowadays we can just leave them out the playlist, but in truth, less songs always means more attention to the better ones. Despite what it says, the album actually closes with the piano cover of Gargoyles Unleashing, called Gargoyles Rest (let's not mention titles again). It's pretty interesting that it transforms the song into a solist piece, but I would not listen to it many times. The jazz closing is cool though (a bit wtf, of course).

To be honest, Ruins obviously has its imperfections, and still after my re-assessment of its value, it seems slightly inconsistent. Especially the second half of the album (which is weaker) looks like it could be trimmed a little without serious repercutions. It total though, it is a great achievement that could be a point of reference for many musicians trying their way into the difficult and thorny pathways of ambitious, progressive black metal. I should admit though that I feel kind of sorry for these guys that the rest of the world doesn't think so. Especially when I know how difficult for one is to transcend or repeat his magnum opus (as they obviously haven't stopped making music) and that this opus is not even considered such by the majority of outward reality. In any way, I seriously hope that Artefact is one day reunited and give it another shot, or that Aldebaran will be able to reach the same amount of excellence with Darkenhöld.

90/100