28th February 2023
Christopher Nosnibor
Something about ‘Elemental Cry’, the lead single from Song of the Trees struck a chord and resonated on a subliminal level. It landed with me at a difficult time, personally. Admittedly, most times are difficult, but some are more difficult than others. More often than not, music helps me through those times, and it’s not always the music I’m expecting. Sometimes, old favourites provide the least comfort and are simply too painful. Perhaps I was clawing for something spiritual, music that provided an escape to another realm. Truth is, I’m eternally seeking something. This sweeping, soaring epic channels something that goes beyond notions of derivative Nordic cosplay cal to forge something powerful beyond words.
This is a quite particular and specific thing about music: sometimes it’s not the music itself, but your state on receiving it. I was, and am, in a state, and words aren’t easy. They are a slog. I don’t want to be here, but must power on. And so that transportation, that being lifted to another place, is perfect in terms of needs. Combining heavy synth drone, spacious piano and metallic twangs, The Song Of Trees is tense and atmospheric. It twists at muscles and nerves as drones undulate, hover and hang in the dense air. As the title suggests, it’s rich and earthy, intertwined with nature and the elements, an album that evokes a sense of the vastness of the great outdoors, the space and freedom that instils life into our bodies, and has for as long as we’ve walked the earth. Only now, contemporary living has separated us from nature to the extent that to walk in woods, or to find a place unsullied by human impact feels like some sort of a special treat. This means that while it’s perhaps harder to feel an attunement to the natural world in daily living, experiencing it is something to be cherished all the more dearly. This, then, transports me from the dingy confines of my poky rectangular office space and to somewhere I can feel free.
Given the taster, and the album’s opener, the expansive ‘Void’, ‘Salt and Tears’ lands as an early surprise, being quite beat-driven and overtly electronic with something of a glitchy leaning that’s far from natural or organic. It’s powerful, and it’s all about the dominant percussion, which works well, although it’s not nearly as powerful as third track, ‘Eldur’: the beats are again dance-orientated, but the vocals are positively operatic. It’s a song that registers on a number of levels. In combining the natural, the earthly, the spiritual, and the ultra-modern, with technology-orientated sounds, this could be a clash if not handled with due care and sensitivity, but Hem Netjer create with a sense of balance and equilibrium, which in some way conveys our conflicting, divided existences.
I suppose there are elements of more mainstream artists as well as the likes of Zola Jesus and the wave of Nordic metal acts which seems to be emerging all blended together here, and these imbue The Song Of Trees with a power that’s greater than the sum of the often quite minimal parts. If ‘Freedom’ characterises the album’s more commercial moments, there are plenty more that carve a different space. ‘Elemental Cry’ arrives as the penultimate track with it thunderous drums and steely strings and its power remains undiminished, and it’s the clear highlight of the album.
And elemental is the word: The Song Of Trees has, despite electronic sounds being so integral, a purity that is rare indeed – and that’s both powerful and moving.
The six-minute closer, ‘Otherworld’ is epic in every sense: sparse in instrumentation yet ultimately vast and immersive, it makes for a strong finish to a strong album.
AA
Aural Aggravation 