Seeking the route to Thule - 90%
Felix 1666, February 22nd, 2015
Written based on this version: 1996, CD, No Colours Records

Falkenbach´s debut was published by No Colours Records. This company was - and still is - blamed for being politically incorrect. Quite apart from the fact that it does not take much in Germany to be confronted with this reproach, Falkenbach itself was never a political band up until now. Its lyrics were inspired by the Nordic mythology. Who cares? I am sure you can be fascinated by this matter without feeling the need to worship the movement of Adolf Hitler. Thus, let us have a close look at the music itself.

Falkenbach showcased harsh up-tempo numbers such as the opener and "Laeknishendr" as well as hymnal epics like "Heathenpride". Both kinds of songs possessed the right degree of currishness. While demonstrating a keen sense for archaic melodies, lone wolf Vratyas Vakyas was always aware of the necessity of heavy guitars. Additionally, rather unusual instruments, for example a tambourine, were also used occasionally. But in general terms, these instruments did not characterise the sound of the full-length. The only exception was a panpipe that showed up in the highly exciting instrumental "Ásum ok álfum nær...". While offering an ingenious melody, its fragile tones contrasted with the comparatively heavy guitars in an impressive manner. Finally, I have to mention the well included keyboards which additionally intensified the atmosphere of the song.

It took only six days to record and mix the album. In view of this short period, the sound was very remarkable. All instruments, with the exception maybe of the bass guitar, appeared powerfully in the right light. The dense sound strengthened the massiveness of the compositions. To put it in a nutshell, the production gave no reason to concern. The vigorous voice of Vratyas was another plus point of the full-length. His nagging struck the right tone and the same applied to his clear vocals. However, the voice did not have a dominant role. The broad instrumental soundscapes represented the most fascinating feature of this debut.

Despite or perhaps precisely because of the fact that the melodies were rather simply constructed, they left its mark because of having a long term effect. Although the songs showed a tiny tendency towards repetitiveness, they did not lack of diversity. In addition, they were vivid and suspenseful. Their average length of six minutes did not lead to monotony. Quite the opposite, the songs caught your attention during the entire work. With a melancholic guitar line, the album came to its end. "...into the Ardent Awaited Land..." marked the last of seven high quality tracks. Vratyas had successfully proven his musicianship. But this debut marked only his first step to Thule. His goal was far from being attained. The journey had only just begun.

The glorious transition. - 97%
hells_unicorn, April 23rd, 2013

The 90s was quite a dark time for metal, not only in the sense that its lighter forms had suffered commercial setbacks due to the upsurge of interest in grunge and pop punk, but also in its evolution from the underground of 80s extreme thrash metal. One of the viler takes on this approach was spearheaded by Bathory and Venom, ushering in a bleak and cold character that eventually took on the form of black metal. Arguably, Falkenbach could be seen as the next evolutionary rung on the ladder after Quorthon's famed project, taking elements of the rawness and fury of "Blood Fire Death" and also accounting for the greater melodic and Viking sensibilities of "Hammerheart", all the while still being easily lumped in with the explosion of 2nd wave black metal affiliates outside of Norway and Sweden. And while to this day the persona of Falkenbach is still mysterious and not quite as known as the likes of Enslaved or Satyricon, its historical importance is at least as auspicious.

Circa 1996 when "...En Their Medh Riki Fara..." was released, the still burgeoning folk/viking metal style was not nearly as widespread, and much of the pioneering work towards it found in various demo releases out of Windir and Suidakra were heavily steeped in the black metal classicisms of the time. Truth be told, this album is just as much an atmospherically enriched black metal experience after the mold of "Nemesis Divina" and "In The Nightside Eclipse" as it is a folksy affair, playing off a similarly fuzz-driven to the point of being post-rock guitar sound and a symphonic keyboard background. Similarly the shrieked vocals take on a high-pitched, orcish timbre that is pretty close to the chilling screams of Ihsahn. These relatively stylized by still very fresh sounding ideas pervade much of the album, which is built largely of longer songs with an elaborate array of contrasting sections that mirrors the epic character of both Emperor's early songwriting approach as well as the long-winded musical quests heard on Bathory's Viking era albums.

Where things take on a rather interesting twist is when the black metal influences give way a bit for the extras that were not quite infused into the sounds of the more Viking oriented crowd at this juncture. Frequent usage of droning folk lines played either on acoustic guitars or an assortment of wind instruments (primarily pan pipes) comes along for the ride, often time bringing a lighter character to what otherwise sounds like music fit for the black forests depicted in early Immortal offerings. Similarly, clean sung folk chants occur with a fair level of frequency, not all that dissimilar from those employed on Enslaved's "Eld", which would not be released until the following year. Perhaps the biggest contrast with most of the early 2nd wave crowd is a strong scaling back of the thrash and blast beats that were emphasized to the point of cliche on early Mayhem and Immortal releases, resulting in something that has more of a rocking yet atmospheric quality to it, not all that dissimilar from the early works of Burzum, though not quite as dirty and low-fi.

But the greatest charm of this album is its utter simplicity, in spite of the multifaceted character that it exhibits. Even the long stream of ideas that is "Asum Ok Alfum Naer" takes its time to really bring out the strength of the folk theme featured in the pan flute while switching up the guitars a bit here and there, but never veering away from its contemplative character. This is something that is quite accessible to newcomers of black metal, yet definitely not rooted in the commercial pomp and polish that tends to be associated with a growing number of popular black metal acts at present, nor the power metal-like heroism found in mainline folk acts such as Turisas or Tyr. But most of all, "...En Their Medh Riki Fara..." is a grower, and continues to be interesting after being heard multiple times. In much the same vein as the early black metal greats, this is a sure classic that will fit in nicely alongside the likes of Enslaved and Emperor's early offerings, yet also marks an important fork in the road from which we now have the likes of Moonsorrow.

The first battle... - 94%
CHRISTI_NS_ANITY8, January 21st, 2009

The myth of Falkenback was born, incredibly, at the end of the 80s, but just in 1996 he achieved the goal of releasing the very first full-length, ...En Their Medh Riki Fara.... Basically, everything started here. Falkenback enters officially in the large world of music and they did it with a blast. This album already displayed the melodies we could find on higher doses on the following albums. ...En Their Medh Riki Fara.... is a bit more black metal oriented but the “bases” are clearly shown and present. If ...Magni Blandinn Ok Megintiri... develops its melodies through the keyboards, here everything is rawer and more direct in style and attitude.

Since the opener, “Galdralag” we can notice that the main melody is done by the guitars and the keyboards are just utilized on the background to add a sense of a dark, epic touch. The composition passes through rawer moments to jump into others that point more on the atmosphere. The guitars are more present here than on the following album and the loud distortion completes a blacker scenario. Even the vocals are far more screamed and almost on perennial shriek. The main influences can be seen in bands like early Enslaved or even Manes for the weird passages and the dark atmosphere, but without those weird or astral overtures.

“Heathenpride” is the very first, complete example of paganism in music for this album. The vocals are clear and the choirs are just amazing. The keyboards are far more present here and they do not simply sustain the guitars but the take the main role to let the epic touches emerge. The tempo is far less impulsive and the drums sustain the epic melodies of the first part, setting on a mid-paced progression. When the shrieks enter, the atmosphere turns to be gloomier and truly black even if the tempo is still unvaried and we can notice the choirs’ comeback on some parts. This song turns to be even greater when Falkenback finds that folk melody in the middle.

“Læknishendr” is far more black metal oriented with some up tempo by the drums and the primitive work by the guitars. The intermezzos are a bit more epic, awaiting the clean arpeggios by a classic guitars and the medieval atmosphere it brings. The vocals remain shrieky and they perfectly clash with the melodies. The restart is full of long, keyboards notes and the nastiness of the guitars. “Ultima Thule” has a massively dark beginning with strong Hades (Nor) influences! The weirdness of these parts is perfectly mixed with Viking choirs and sudden melodic breaks where the clean guitars notes are here again. The atmosphere is truly apocalyptic, dark and epic at the same time.

“Asum Ok Alfum Naer...” is a track that points more on the pure epic touch of the keyboards on few parts to let the classic black metal elements come out during the other ones. The main purpose is once again to create a solid, massive black metal base under the sound of the keyboards that bring the melody. The tempo is always like a march. You can clearly imagine a Drakkar in the open sea or in a fiord. The sound of a coming storm, the winds and the nature are with us. “Winternight” is pure Bathory style and this is great. The black metal is more present but the tempo remains martial. The style follows the ones on …The Return album, more or less. The primordial burden of this song is incredible and actually very good to break a bit the epic feeling.

The last “...Into the Ardent Awaited Land...” has a quite raw guitars part at first but when the choirs enter, we change the atmosphere once more. We return to high quality epic feelings and almost nobody can beat Falkenback on this field, closing a great debut. Everything was already displayed and the heavier burden of black elements is very good too to make the atmospheres collide together. All in all, this is an excellent album to start your journey through the epic adventures side by side with Falkenback.

“When a lightning strikes with pride
and a thunder roars upon us,
when the trees will be beckoned by their dew again
the icecold mist shows us our way...”

First steps upon a path unfolding! - 100%
Shadow0fDeath, August 28th, 2004

Falkenbach is one of the most defining bands in the entire viking metal genre. With the use of clean and harsh vocals kept it a pattern that allows the music to flow, norse majestic theme powers pulling you into it's grasp i don't believe there is any greater creation in metal apart from falkenbach. En their Medh Riki Fara... is the perfect most defining album to capture the viking sound.

The album ranges from all varieties of it's own powerful musical assault. With tracks as Laeknishendr which focuses on the darker spirits and colder elements of black metal to the more folkish melodies of heathenpride this Falkenbach release is one you don't want to miss out on. It's so powerful as each song suffocates you with majesty, darkness, and occasionally a folk type acoustic guitar will fill your ears with a really interesting and medieval sound to it.

Also a lot more woodwind and folk elements are used on this release apart from the successors of En Their Medh Riki Fara. With flutes that chime mystical melodys into you, and the mix of lighter guitar playing mixed with the raw sound of black metal this release is one you can't miss out on! It'll be a masterpiece you'll continue to listen to. With a lot more black metal chemistry flowing through this release it will also be a great treat to the black metallers who have slight interest in the viking and melodic folk aspects of the music as well.

The album feels as if you reached the shores of iceland after a long hard journey on cold oceans, with the frost winds ripping into your face as you destroy the nearby villages. Total war in the name of Odin and Thor sweeps through this album. A must have for those passionate about black/viking/folk metal!

This is how the one-man legend was born! - 98%
Wikingus, August 16th, 2004
PrevFirst
I was one of the luckiest bastards of this years Wacken Open Air when I spotted one of the original first Falkenbach albums on the last day. Even though I had already spent a fortune on beer and stuff, I decided that I'm not leaving Wacken without this masterpiece.

How damn smart of me! I've known this album for a long time, but it was just impossible for me to get it anywhere.
This is the real deal. This is THE viking metal, ladies and gents. The booklet is shoddy and in black and white, but the CD has a nice cover.

Now for the songs!

-Galdralag; an instrumental song, great power.

-Heathenpride; My favorite song on this album, starts with excellent clean vocals, telling of a story of christian men coming to the lands of the North, plundering and raping. The other half of the song is much faster and Vratyas uses some nice black vocals to tell the story of heathen revenge.

-Laeknishendr; The song that basically defines early Falkenbach. Not the best production, really nasty vocals and mysterious lyrics. Not to mention how melodic this is! Great stuff!

-Ultima Thule; The second best song on the CD. It only has two stanzas, but it's just so melodic that you can't get it out of your head for hours.

-Asum Ok Alfum Naer; a good sort of Normanic instrumental song with bagpipes

-Winternight; Probably the most powerful song of the whole release. Unrelenting, fast and furious.

-Into The Ardent Awaited Land; Saddest song on the album, this piece of absolute poetry tells a slow story, in clean vocals. Almost puts me into a trance. Rerecorded on the new album, but I like the old version better. Dunno, probably because of the cruder production :)

Anyway, metal history in your CD player. Calling this simply a masterpiece would not do it justice, not by a long shot. Listen to it, and discover the world of Falkenbach.

A Dark Viking Tale - 70%
Petrus_Steele, February 13th, 2020
Written based on this version: 1998, CD, Napalm Records

I have this strange feeling that when a band is a whole, rather than a single artist doing all the job, the product seems more fulfilled and complete, and just the fact that you have a bunch of musicians working together. By having one artist doing all the work, it kinda throws me off. The thing with Falkenbach, however, is that ...Magni Blandinn ok Megintíri... (which roughly translates to ...Mixed with Strength and Glory...) has a very interesting sound that I couldn’t refuse to listen. And as I write this review, I didn’t realize until now that Falkenbach is, well, just one musician doing all the work.

The album offers six tracks, the last one being an instrumental outro and the other five are songs. Though I must note, the album is quite predictable and repetitive, as if the man behind Falkenbach wanted to stretch his songs instead of adding more substance. Ironically, I enjoyed the similar songs than the ones that were darker and experimental, including the instrumental track.

...When Gjallarhorn Will Sound, Towards the Hall of Bronzen Shields, and Walhall are the three songs I was referring to that sound similar, and these three are my recommendations for this album. I can’t tell what’s the exact instrument or effect used in the first song, but during the shrieking while the song becomes intense, not only it helps the atmosphere, but it also gives you the impression like you’re sailing into a maelstrom. Musically, the song is mixed with clean, excellent and accented vocals by Vratyas Vakyas (real name Markus Tümmers), while also offering said shrieking. The composition is unbelievably superb, from the guitars, bass, and drums, to the keyboard and string implementations. The other two songs mostly showcase Vratyas’s melodic singing and his work behind the keyboards. These were the main drive for these songs, while the guitars and drums sounded more like background music. Unlike the third song, the fifth song has more substance, musical content, better and not so repetitive transitions, as well as being more melodic and Vratyas showing more of his German accent.

As strange as it sounds, I didn’t like the more distinguishable songs and the instrumental track. Let’s just say right off the bat that ...Where Blood Will Soon Be Shed is the heaviest song on the album, showing its darker tones from the vocals department, while offering more engaging rawer guitar riffs. Much like Towards the Hall of Bronzen Shields, it’s a repetitive song. The Heathenish Foray‘s orientation revolves on more folk-ish sounds and vocals. I liked the overall approach, but it was REPETITIVE, like a spreading infection. And finally, the instrumental track Baldurs Tod was boring. More of applying the folk-ish instrumentation than giving something spectacular.

The biggest flaw of ...Magni Blandinn ok Megintíri... is its repetitiveness. Being a pretty long record for six tracks that for their duration offered predictable song structure and transitions and being stretched, it’s still quite an experience to listen to something that’s quite adventurous. I just wish that “adventure” wasn’t repeatedly dull. It’s pretty obvious which songs are the best, but I will say The Heathenish Foray wasn’t so bad itself.

Coming closer to Thule - 75%
Felix 1666, March 22nd, 2015
Written based on this version: 1998, CD, Napalm Records

Düsseldorf is one of the three comparatively well-known German carnival hot-spots. Vratyas Vakyas comes exactly from this city. Due to this, his melancholic tendency as well as his thoughtful way of proceeding are really a welcome surprise. But no matter what the cause, everything is alright as long as he composes fantastic tunes. His second album supplies you with some excellent examples of his songwriting skills. It is less effervescent than its predecessor, but the album´s highlights reveal their intensity slowly but surely.

Basically, it can be said that the full-length offers homogeneous songs. They are more streamlined than those of the debut without offering (too many) boring sequences. In general, I have just one tiny little problem with the album, but this concerns the sound. It would be an exaggeration to say that the songs sound sterile. Nevertheless, the mix can be considered as a little bit too clean. This is at the expense of heaviness and vehemence. No big deal, but nevertheless worth mentioning. The rough landscapes that appear before my inner eye while listening to the music would have deserved a craggier sound. However, the songs themselves know to convince. Generally speaking, they do not lack of quality and the opener marks the first climax.

Already the soft melody at the beginning indicates an epic piece. As soon as the guitars sets in, heaviness and grandeur create an exciting combination. The keyboards contribute melodic accents and the simple yet effective background choirs stress the viking atmosphere. They are in contrast to the hateful nagging of the lead vocals. The opener lasts longer than eight minutes and Vratyas is not immune against repetition, but there are no annoying redundancies. More or less the same applies to the majestic "The Heathenish Foray". While also being designed with a playtime of eight minutes, its melodies are even better than those of "...When Gjallarhorn Will Sound". The vocal line surpasses that of the opener, too, while the stoical guitars do their job unswervingly. Vratyas sets the bar high for himself. But the deplorable fact remains that the fifth and the last piece are not able to offer a comparable degree of accurate heaviness. They are lagging behind the first songs in a relatively significant manner. Nevertheless, the album is worth the money, because Vratyas proves once again his talent for exceptionally strong mixtures of power and melody. Therefore, the last songs carry no weight. You can compare the situation with a football match. A mediocre second half does not matter as long as your favourite team is in the lead.

In view of its hordes of jesters, Düsseldorf is definitely not the best place for a viking metal musician who wants to be taken seriously. It therefore comes as no surprise that Vratyas tries to escape. "...Magni blandinn og megintiri..." illustrates the process of Falkenbach´s growing up. Despite or precisely because of its maturity, it is not as strong as the awesome debut. Nevertheless, it appears as a fresh breeze that brings the ship of Vratyas closer to Thule.

Setting sail for familiar territory. - 86%
hells_unicorn, April 23rd, 2013

The tale of Falkenbach is really two stories, one of them telling the tale of a one-man project that found an interesting niche between the formative efforts of Bathory and the subsequent 2nd wave of black metal, the other one being how that changed into a project that moved a good bit closer to the former half of said story. One of these stories is not necessarily better than the other in a general musical sense, but they are very much different, which is in itself impressive considering that it all flows to one individual musician/songwriter. Though it may well have been completely unrelated to this band being signed to a prominent label in Napalm Records, when this occurred the obscure and very much blackened character that defined "...In Their Medh Riki Fara..." fell by the wayside and a sound quite similar to that of "Twilight Of The Gods" and Quorthon's later "Nordland" releases emerged in "...Magni Blandinn Ok Megintiri...", an album widely heralded by core fans of Viking metal as one of the earliest examples of said style after Bathory.

The best way to distinguish this release from the debut is by seeing it as a Viking album with black metal influences, as opposed to the opposite which was the case previously. With this contrast comes a production quality that is notably higher fidelity, and also one with a much more prominent bass presence that mirrors the influences from Joey DeMaio's that Quorthon began incorporating on "Hammerheart". Likewise, the riff work has shifted from being heavily informed by the shimmering, post-rock character of the 2nd wave tremolo style to a slower, thudding 80s metal character that is heavily similar to the plodding juggernaut sound of "Sign Of The Hammer". The songs are generally of a similarly epic scope, but cut back to a much more minimalist mode, often dwelling upon a singular riff for an extended period of time without any overt contrast to speak of, and stick to the slower side of the tempo register. In other words, it sounds a lot like Manowar but without the speed metal and celebratory anthems of slaying the poseurs.

Nevertheless, one thing that has remained constant is Vakyas' vocal character, which generally resembles both the garbled blackened shrieks and plain sung character of Enslaved's transitional offering "Eld", though the chanting clean vocals have taken on a dominant role. This is the one area where Falkenbach has differed pretty significantly from Viking era Bathory, as the character of the vocals is quite static and almost trance-inducing rather than gritty and impassioned. This is best exemplified on "The Heathenish Foray", which features a droning vocal and melodic line that consists of about 5 different notes and almost sounds like a mantra recitation, not all that different from the occasional clean vocal lines that can be found in some of Agalloch's material. Interestingly enough, the keyboard presence has been heightened to such a level that it actually competes with the vocals for equal prominence and tends to drive the songs. This even proves to be the case on the fastest and most aggressive of this album's offerings "Baldur Tod", which almost flirts with an up tempo power metal feel, but also manages to sound like an orchestrated film score theme amid the heavy synthesized string overlay.

Overall, this is the sort of album that is quite impressive at first glance, but tends to cater more to early metal fans who like things kept simple and who don't mind long and repetitive epics. It is very well put together and offers up a clearly defined whole where each individual part can be fully discerned and appreciated, and actually manages to one-up all of Bathory's cumulative releases in terms of polish. Having said that, it lacks the charm and originality that made the first album a sort of cult classic that straddled the lines between black and Viking metal to the point that one wonders how Quorthon didn't write something like it between "Blood Fire Death" and "Hammerheart". It's a solid collection of songs that all fans of the sub-genre should be familiar with. It marks a pretty big shift in direction, but is far from the most illogical one to ever about in the metal world.

...Lackadaisical.... - 75%
asiegfried, February 2nd, 2012

I admit I'm not the greatest fan of viking metal – it seems like most albums in the genre are basically an assemblage of simple riffs, a few synths, amateurish vocals (both harsh and clean), lyrical clichés, and simple rock-oriented song structures. It's not as though the genre cannot turn out a few classics, but in general it seems to be aesthetically lacking. This album was so excellently-reviewed I thought I may have found a diamond-in-the-rough, but it I ended up failing to see what made this album so special.

Starting with the positives, the melodies are pretty good – the riffs are atmospheric and the synth parts fit nicely. The musicianship is really nothing to write home about, nor would you expect it to be. The lyrics have a trite subject matter, obviously, but at least utilize it with it in interesting ways. Most of the songs are narratives (always a plus, in my book), with what seems like some text from the original Norse sagas ...Seriously, though, why is this Vakyas guy obsessed with putting three periods everywhere...?

The songwriting is clever in some respects. Sometimes a part is played early in a song and then repeated later in a totally different context. For instance, the creepy pizzicato-sounding melody that's in the B section of “When Gjallarhorn Shall Sound” is played again at the C section around 5:30 over a totally different riff. Another example is how the beginning riff in “Where Blood Shall Soon be Shed” is echoed by the drum part around 3:30 into the song.

Generally speaking, though, the song writing is poor. A lot of the song structure is just standard rock fair – some versus, a chorus, an instrumental bridge for contrast. Ideas seem to be recycled often (the solos are mostly just a repetition of the vocal melody, for instance).

To say it bluntly, the songs can get boring. Sections tend to be long (you’ll often go through two minutes of basically the same stuff; “Towards The Hall of the Bronzes Shields” rarely changes at all), none of it is very fast, and, most importantly, there is a feeling of languor in these vocals and riffs.

When Falkenbach experiments with black metal (“Where Blood Shall Soon Be Shed”), this feeling of languor can translate into a pretty good grove and atmosphere, but the vocals are still behind. The growling is not like the death shrieks of Varg or Quorthon – they’re just rhythmically soporific, with not much variability or passion.

The folk metal parts are less successful then the black metal parts. The singing is basically soft chanting – not the boisterous bellowing of a proud Viking, but the introspective chanting of an amateur. Look at the chorus of “Walhall,” for instance: that chorus just feels so listless for a song about, of all things, Valhalla.

Anyway, get it if you like viking metal. I doubt you'll be blown away, but you might find something you like.

In conclusion:
Positive Points – solid viking metal, ahead of the game in some respects: good riffs, lyrics and atmosphere; tasteful synths
Negative Points – as far as metal in general, this album isn't all that great, mostly because of mundane songwriting and a general sense of flatness

Invincible Pagan Power - 98%
CHRISTI_NS_ANITY8, October 3rd, 2008

This is the first album I bought in Falkenbach’s discography and it still remains my favourite one. This one-man band can be seen as one of the most famous and representative in Viking metal and surely one of the best. The first album was still a bit black metal oriented in many parts with heavier guitars and gloomy atmospheres, while this ...Magni Blandinn Ok Megintiri... finally threw the bases for an album to know and remember in this particular genre. I’ve always seen this band as one of the most melodic in this kind of music and this album is the major example of my personal theory.

It’s 1998 and the some of the greatest outputs in Viking metal were already been archived in the history of metal. When everything seemed a bit stagnant in this music, Vratyas Vakyas, a German guy decided to show all the skills and his personal, majestic songwriting to create this little jewel. The atmospheres always played an important role in Falkenbach music and they are far more present than in the other band. We can consider this band as the most “exaggerated” in this genre right for the always present and pounding melodies. By the way, this album is the one that always achieved to create an atmosphere that I’ve never found in other efforts by other bands. You can describe these melodies as “cheesy” or what you want but the fact is that they are great. Stop.

“...When Gjallarhorn Will Sound” is an outstanding opener. Everything is already displayed and clear. The hyper epic melodies, over a carpet by the heavier guitars, are huge. The drums tempo is always the same, as to accompany the flowing, massive and Viking melodies. The idea of using the drum machine can be dangerous and questionable but it’s never annoying to me; maybe because the attention inevitably moves towards the melodies by the always present keyboards and the perfectly executed vocal choirs. The blackest metal breaks are full of shriek vocals and the following “...Where Blood Will Soon Be Shed” is the most fitting examples on this album. The dark lines are more present even during the epic parts that are now really gloom.

The production is great because never too pounding, especially for the drums, and gives the right attention the melodies deserve on an album like this one. Everything is well balanced and the guitars, even not being the most important element, are always present in the background to accompany the songs. With “...Towards the Hall of Bronzen Shields” we return to the pagan greatness through hyper catchy but extremely evocative melodies. I believe that if the Vikings had the possibility to listen to a certain form of music that could accompany them through the seas and the storms, that music would have been the one by this huge band. “The Heathenish Foray” features just two changes of atmospheres and melodies but it’s great like this. Its strong point is to never annoy and bore and this is not a small, unimportant thing.

If the beginning to “Walhall” is not the best one in fantasy, being with a standard tempo by the drums and an essential riffage, it has one of the greatest refrain ever made by this band. The clean vocals reach unbelievable peaks of melody and epic feeling. When he sings “Walhall the hall of shining shields where once I'll be to celebrate my death...” with the following melody, I’m in ecstasy and I can feel chills everywhere. The last instrumental track is faster at the drumming and shows really dramatic lines with dark breaks where the epic feeling is in another direction, this time a darker one. At the end, a sensation of satisfaction and power fills my veins and I know that this album will forever be taken as a landmark in this genre for me.

Albums like this one are not just rare, are unique. The pagan prosperity is all here, in every single note and sensation. The ancients are now pleased.

“...Evening fell that day long time gone,
the ravens above still showed the way,
they were guided by Odhinn, led by the one,
who shelters the fallen every day by day...”

Supremely flawed - 69%
Kraehe, March 13th, 2008

The album starts very positively with When Gjallarhorn Will Sound. An unobtrusive droning ambience underpins a nice 'pipe' melody tooting away (at once grand and also warm), with some less welcome 'timpani' whacks before the band proper kicks in. The guitars are heavy and well produced without being overly polished and the main vocal tune mirrors the melody in the intro. Effective harsh vocals are used in a stock beauty-and-the-beast style, alternating with the more predominant clean ones, which are almost spoken. The clean vocals are not exactly accomplished, but sound decent and fit in well. Throughout the track there are some slightly mystifying new age-style keyboard tinkles - it adds a little body to the music, but sounds quite silly. They aren't too jarring or obtrusive, though. The track overall is decent and heavy, but relies too strongly on the same vocal melody repeating too often. Drums are efficient, no more. They sound like a machine, but it's not an issue.

The other tracks suffer more as the songwriter uses an incredibly obnoxious vocal distortion effect for spoken passages of three songs. The songs themselves range from decent (Where Blood will Soon Be Shed) to rather boring (Walhall). These would be fine enough, but unfortunately the distorted vocals destroy any atmosphere - they sound identical to the kind of cheap voice effect used on radio adverts for Venom's At War with Satan, and that band wasn't even serious about it. And it was 1983. The less 'epic' second track Where Blood will Be Shed works well in its minimalism - it's very driven and without much bullshit involved, and the least offensive keyboard use of any track on the album.

The first truly awful use of the distorted vocals is near the beginning of Towards the Hall of Bronzen Shields which interrupts an attractive pseudo-chant melody with Halloweenish crap. This is redeemed somewhat by an unexpectedly pleasant solo mirroring the vocal melody (seems to be a favourite trick of the songwriter). The Heathenish Foray sees a return of the tooty 'pipes' underpinning the guitars in typically repetitive fashion. The mid-song breakdown sees the backing tune on the keys continue 'naked' for a moment, and unfortunately highlights how keyboard driven this music is. After an irritating little build-up after that, the song goes into repeat mode again, and much the same music as at the start plays until the end.

By the time the album reaches Walhall the formula has become tiresome. Another attractive clean-sung melody with more keyboard-driven underpinning and offering zero surprises to the listener. An endurable sympho (but sounding more like a circus organ) passage emerges in the middle, and we once again meet the SATAN IS HERE distorted voice - the last track didn't include any, making the reappearance doubly annoying. The song ends identically to all the rest; breakdown, repeat, fin.

The final track Baldurs Tod I was tempted to call an outro. It's as long as the other tracks, but it is instrumental and entirely keyboard-driven with the guitars relegated to backing the keyboard melodies. It is also highly repetitive. I say "was" going to call this an outro, because I realised that minus the vocals, this is essentially identical in structure to the other tracks of the album - the guitar/keyboard balance is just switched. Unfortunately this is also the poorest track of the album from a technical point of view. It begins with a drone like the first track, then some really shitty sounding 'mock violin section' keys (basically the generic "UUUUHHHHH" sound that is so popular with metal bands) spinning another simple but tuneful melody - it's underpinned by some annoying 'timpani' whacks on the repeat (also like the first track) and the tune changes to a bridge which is so alien to the way a real violin is played that the entire keyboard sound becomes ridiculous. Here comes the good part: the guitars now kick in over the main melody and it sounds epic as fuck. This is 50 seconds into the track. There are 5 minutes to go. To sum up: it barely changes. There's a very brief breakdown, a slightly altered second melody (sounds almost like the main one, but inverted), but this song tests the patience of the listener as much as it does their sense of aesthetics.

Overall this album is brimming with potential - a little more diversity and fewer tacky elements could've made it stand out. It is repetitive in all aspects; riffs, melodies and structure. Like many positive reviewers, at first I was quite enamoured with this band for its unique and powerful sound - but it doesn't stand up on a technical level and once the novelty wears off there is an equal amount of under-achievement to every success in the music.

A near-perfect Viking metal album! - 97%
SvalbardDave, February 13th, 2008
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It's not often that I completely concur with public opinion, but such is the case with Falkenbach. The beauty and majesty of his recordings more or less demand it. This, his 1998 recording called "...Magni Blandinn Ok Megintiri...", which translates to "...mixed with strength and pride glory...", is a near-perfect exemplification of the Viking metal genre. Though it may appear a short album, it is actually over forty-one minutes in length, with all six tunes being five-and-a-half minutes or longer.

All of the lyrics on this recording are in English and the vocal performance is divided between a clean high-baritone range style and "death" vocals. The sole member, Vratyas Vakyas as he likes to be known, issues the clean vocals with nice harmonic precision against the keyboard chorusing and guitar work.

On one side note, though, I'd have to wonder why he'd use a pseudonym on top of a pseudonym. His real name is Markus Tuemmers, but prefers to go by Vratyas Vakyas. On top of this, his group project is called Falkenbach, yet he's the sole member. I'd call this a curiosity and not a judgement.

I would describe the Falkenbach sound as very pure, aesthetically and thematically. He makes liberal use of "parallel fifths" in his chord arrangements and vocal line. With the added keyboard sounds of strings, tin-whistle and occasional brass, he puts out an incredibly strong harmony that reinforces the melody in every bar. Vratyas' clean vocals are not fancy, but they're always right on the mark.

Take for instance the first song, "... When Gjallarhorn Will Sound", a very powerful melody in 6/8 time, seemingly a standard for folk tunes as well as for black metal. When you hear this song, somewhere in the back of your mind you're thinking "When Johnny comes marching home again, hurrah! hurrah!" The melody to this song is so simple that it's perfect. The keyboards play this melody using a tin-whistle voice in addition to the synth pad bass drone and part-string-part-brass chord chorusing. Vratyas' vocals flawlessly glide in, and by the first refrain, establish hearty, steady and powerful sound. The next verses are sung in "death vocals", which he also handles with skill and precision. The resonance resides in a mid-to-high range, and does not sound breathy, but rather fits well, perfectly mixed with the music.

My vote for the best song on the album would probably have to be "The Heathenish Foray", for its absolutely majestic melody and pure vocal lines. This would be the one track with a major flaw, however, in that the vocal lines are all sung too low. At a few points in each verse he bottoms out and his voice is barely audible at those point. This, to note, was an issue corrected on the later release "Heralding - The Fireblade" on which the song was re-recorded in a different key.

This album is forty-one minutes full of really delightful and addictive melodies that really stay with you after you're finished listening to the album. Though some might interpret that as the album being a bit "samey", but I interpret that as a powerful tribute to the true Viking metal. It is also interesting to note that there is not a single song with any blastbeats in the drumwork. Unlike almost every other Viking metal band, which are mostly derivative of the black metal genre, Falkenbach has a truly unique sound in the entire realm of metal. That's why I give this album a 97 out of 100. For flawless production, excellent mixing, a truly original sound, and very good musical execution.

The best Viking-metal album ever? - 95%
RubenP, June 19th, 2007

Falkenbach – Magni Blandinn Ok Megintiri

Not as black as the first one, not as polished as the latter, but atmospheric beyond them all, ...Magni Blandinn Ok Megintiri… is truly the best piece Vratyas Vakyas had ever written. This album really sounds like it should: like feeling the strong wind through your hair and the cold water on your face, standing on your vikingship, sailing the endless sea’s, on to new adventures.This atmosphere is created by two important parts: the songwriting itself and the production of the album. Let’s start with the first one.

As soon as the first song starts, you’re taken along on a journey to the north. First thing noticed is the fact that the keyboards add exactly the right touch to the music, being epic and creating the right atmosphere. The songs are long, grand and spun out over at least five-and-a-half minutes each, which gives them time to build to a climax. All songs are great; some really stand out, “… When Gjallerhorn Will Sound…” for example. The clean-vocal parts accompanied by the keyboard tunes are really epic and belong to the greatest parts in vikingmetal-history. These are alternated by the more Black Metal-parts, when the grunts come in and the riff gets a rougher direction. On other songs, there’s also another sings style, which are actually spoken words slowed down to make them sound lower. This style is a nice addition, although it’s clear to hear that it’s not a real low voice, put slowed down afterwards. This does a kind of harm to the authentic feel of the album. The climax of all songs however, really comes to his highest point at the last song: “Baldur’s Tod”. This is the highlight of the album, being totally instrumental and inspiring as if Odin himself wrote it in his best days. The song is mainly based on a keyboard-tune that keeps repeating itself in two or thee variations, backed up by a consistent blastbeat. When listening to this one, you wish it keeps going on forever. The part which sounds like the end, but is just a short pause before going on (on full strength), is one of the best pieces of music ever. Listen to it for yourself for the best example.

The production of this album also adds to the greatness of it. Myself being not a great Black Metal-fan, I’d be one of the last people who would say that a sloppy production would add something to the atmosphere of an album. Here however, I have no choice to acclaim that it is indeed possible. The guitarsound on the album is really raw, and the riffs are sometimes a little indistinguishable, but they sound real powerful and give the best foundation the songs can get. The drums also have exactly the right sound, as if someone is beating a drum to make all you Vikings row at the same speed on your longboat. Not too modern, not sloppy or anything, perfection is the word. All this, of course, in perfect harmony with the keyboards.

After listening to this album many times, I have to conclude that it is one of the best, if not the best, Vikingmetal-albums ever made, and every fan of the genre should try to find it and worship Vratyas Vakyas for making this one-man project such a success. Extra points added for the beautiful artwork, where the logo is not too conspicuously present so that is does not harm the painting itself. The few people who own this album as LP should prize themselves especially lucky, just for heaving a bigger version of the artwork.

Perfect is an understatement - 100%
friendofthesuncross, April 18th, 2007

…Magni Blandinn Ok Megintiri… is a perfect representation of what Viking metal bands should strive for. The album is amazing from opening to closing, leaving you with a clear idea of what Falkenbach is. The songs are typically 6-8 minutes, and never get repetitive or boring, even after several listens. The vocals range from clean, spoken words to chanted to black shrieks, they add a lot to the music, keeping everything flowing while still standing out.

Another excellent part of the music is the keyboards. While they aren’t overpowering, they are definitely noticeable. They are used in the background, adding a new level of depth and furthering the atmosphere. The guitars are used, generally, to the same effect, which is heightening the atmosphere and adding depth. The drums are done just right, not sloppy, but keeping perfectly with the music. After listening, you will realize there is no dominant instrument, but rather they are all used equally, leaving you with a beautiful and amazing sound I have never heard from any other band.

There are no weak tracks on the album, but rather every song is a standout track. They are all very epic and beautifully done, giving you a good view of what Pagan views are all about. You will be taken through battles, hear about Odhinn’s exploits, and take a journey through the Northlands. You will want to listen to this again and again.

Falkenbach is and amazing band, as proven by this album. Vratyas Vakyas shows here he is right up with Quorthon in lyrical genius, and this is one of the few bands that rival Bathory, which is definitely saying something about Falkenbach. This album is a must own for any metal collection, and once you listen to it, you won’t be able to stop listening to it. Sit back and enjoy the pure genius that is …Magni Blandinn Ok Megintiri…

A True Northland Experience - 100%
C_Dub, October 11th, 2004

This album, ...Magni Blandinn Ok Megintiri..., is as glorious and phenomenal as the Northlands themselves. This is pure, and I mean pure, Viking and Folk influenced Metal. You can tell no doubt, that it is. Let us being with the strong sound.

Vratyas Vakyas is indeed a great mind, and with him comes great ideas. A main part that sticks out in his music is his use of atmospheres and Nordic sounds, carrying a greater variety of atmospherics than Quorthon himself, Vratyas' music takes you on a ride into the Northlands and the Sea, into battles, and full force into Heathen pride.

Vratyas Vakyas is just a master at what he does. His vocals are excellent, very Folk like, a great chanter and singer, but when he needs to get his point across with Black Metal like screeches he can do it, and still keep the mood that he gives. A Great display of his vocals are the songs...When Gjallarhorn Will Sound and Walhall.

What really sticks out in his music is his drumming, of course, great drums, giving the Nordic feel, along with his use of flutes and strings, and his shredding guitar that keeps the melodies perfectly, sets an awesome and epic mood

Now for the tracks. For me, each track is exceptional, and as good as each other, and they are all amazing and unequalled, I think, unless by songs such as A Fine Day to Die or One Road to Asa Bay save or take a few others. "When Gjallarhorn Will Sound" the opening track wonderfully sets the mood for the cold Scandinavian climate and the Viking feel. Though it would seem odd to say this, but everyone of his tracks is very alike, drum style, vocals, guitars, except the thing is, it's not repetitive. His music carries wonderfully. Every single song on this album is an epic piece of work. Mixed with great quality adds to this excellence.

Now for lyrics, let me just say this, just think of Bathory and Amon Amarth lyrics, and you can picture reading Falkenbachs lyrics. Though they are nowhere near the same. They take you through epic fights and journeys throughout the Northern world. They also speak great tales of Oden and many other mythical Gods and beings. Not only do his lyrics flow very well, they are exciting to read.

To wrap up the album, along with the man behind the work, it is indeed an epic piece of work, equaled only by the work of bands such as Bathory and Vintersorg. So much atmosphere is incorporated into this music, that once you are done with the album, you will feel as if you had just returned from and epic odyssey around the world. I hope you enjoyed it as much as I did (do).

People! This is a masterpiece! - 100%
Shadow0fDeath, August 19th, 2004

Falkenbach, a viking metal band formed in 1989 has had quite a past with recordings, but with their Sophmore album i think the band has outdone with themselves a flawless metal/folk masterpiece. With realistic keyboards, the layered keyboards, and the pure black metal riffs/drumming put together to make one of the most brilliant albums i have had the pleasure to listening to. Each track is extremely powerful and atmospheric. The composing of this album is so perfectly done it takes my breath away each time i play this album.

The sound for most songs on this album includes quite the majestic and medieval feel to the overall sound. With the operatic chants of Vakyas, to the darker chords, to the strings/woodwind emulated keyboard brillance you will not find any release as well put together. With each song becoming more powerful. With war/pagan typed themed in songs such as The Heathenish Foray you can imagine everything going on the battlefield as the previous review was stating it. There is also a darker side to this band when you hear the symphonic epic known as Baldurs Tod which ends this album with you in awe.

Along with the atmospheric masterpieces the songs just get stuck in your head and you will still find yourself headbanging to this great viking metal masterpiece. Even if you are not a fan of viking metal you will find the beauty behind this piece as it attacks and penetrates your ears with it's majesty and power, few albums can compare. I would definately recommend to anyone in seek of brilliance in the metal genre as this album should be a candidate in albums you have to check out!

Unparalleled brilliance - 100%
mutiilator, January 22nd, 2004

It was hard for one to think that a band could top up the level of absolute musical genius they had previously set for themselves. Falkenbach proves this wrong with the release of “Magni Blandinn Ok Meginitiri”. After a hugely successful demo and full-length, the one-man band hailing from Iceland returned to show he that he had much more talent than he had led on. This cluster of epic war tales kicks off with “When Gjallahorn Will Sound”. The track starts of somber and modest, only to break out into a heavy pounding rhythm, super-catchy riffs, spine-tingling chants, and some of the best Black Metal vocals ever heard. The listener can’t help but be enthralled over the course of the 41 minutes, as they are entangled in stories of war, heros, and the Ancient Way, and as the unparalleled brilliance of Vratyas Vakyas shines through. To finish it all off, Vakyas threw in the fast-paced 6-minute instrumental track, entitled “Baldurs Tod”. This is easily one of the best metal albums of all time, and definitely in my top 10. A must have for any fan of Folk/Viking Metal!

In calm waters - 65%
Felix 1666, March 23rd, 2015
Written based on this version: 2003, CD, Napalm Records (Digipak)
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As long as we are speaking about metal, we usually like to mention terms such as currishness, power, vehemence or, of course, heaviness. This does not mean in reverse that products without these ingredients are necessarily a bad thing. Nevertheless, in order to create an effective and punchy metal album, it is helpful to integrate at least one or the other of the aforementioned elements. Unfortunately, Falkenbach´s third full-length must be described with different attributes. Tranquility, harmony and deliberation are the words that come to mind first. The front cover indicates this approach. No doubt that it is a fantastic artwork, but its warm colours do not generate an atmosphere of metallic aggression. Thank Odin, lone fighter Vratyas has too much creative powers to be at risk to publish a really weak album. Nevertheless, "Ok nefna tysvar Ty" does not deserve the highest praise. It fails to offer outstanding highlights. Therefore, it must be described as a solid album that lacks of dynamism and rawness. Despite this regrettable fact, it features more or less great melodies.

The epic opener points the way. Pretty nice harmonies do not do any harm while female background vocals try to deliver some dramatic moments. The clean lead vocals lack of penetrative power. Breaks and tempo changes are rarely used. The focus is set on leisureliness. Too bad that Vratyas is not able to prevent a slightly tedious overall impression. Roughly spoken, the description of the opener is also suitable for the following tracks. Only "Donar´s Oak" surpasses the other songs because of its inspiring liveliness. Soft tones introduce this number. But as soon as the drums and the electric guitar set in, the song is driven by its more or less intoxicating melody and mid-tempo drums. However, where there is light, there is also shadow: it remains a mystery why Falkenbach decided to offer an acoustic version of "...the Ardent Awaited Land". Its metallic original has already been presented on a regular full-length. The new version appears simply superfluous. What is even worse, its release indicates a slight lack of creativeness. Frankly speaking, I do not see any other reason for releasing this song again instead of offering a new one. Already the original version does not belong to the best tunes of Falkenbach. But this strange selection does definitely not constitute the main problem of this work.

The biggest mistake is that Vratyas needed five years in order to produce and release an album which wanders aimlessly between folk music and melody-oriented viking rock. Really harsh elements do not occur during the whole playtime. The voluntary renunciation of metallic power is not comprehensible, especially in view of the admirable quality of the raw debut. Honestly spoken, I do not really like Bathory´s viking albums. "Ok nefna tysvar Ty" sounds like the little brother of Quorthon´s "Twilight of the Gods" - and it has the same effect. It is fairly dramatic in its best moments, but it fails to stir up huge emotions. Due to this situation, the organic sound of the transparent production is not of vital importance. If things continue like this, Vratyas will not arrive at his destination called Thule.

From stormy seas to tranquil shores. - 80%
hells_unicorn, April 24th, 2013
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The extremely close proximity that Falkenbach's middle era shares with Quorthon's unfinished "Nordland" series may seem a coincidence to some, and a blatant case of student following teacher a bit too closely for others, but it is instructive regardless. It showcases a rather uncanny level of conservatism and traditionalism on the part of the former that definitely fits with the devotion to olden tales that typify the Folk/Viking style's lyrical pursuits. And while this one-man project's 2nd album could be seen as a near perfect adherence to the traditions laid forth on "Hammerheart", "Ok Nefna Tysvar Ty" actually ventures a bit beyond what Bathory had originally conceived on a few levels, mostly dealing with the level of depth and arguably the entire dimensions/character of the sub-genre's sound.

While not really any fancier or more technically adventurous than its predecessor, this album features a Falkenbach that has broken with its lone warrior in the midst approach in favor of something bigger, perhaps on some level comparable to "Twilight Of The Gods", though far more polished and pristine in sound. It is still possessed of that chunky, bass heavy stomping sound typical of the lingering Manowar influences on the genre, but this album is far lighter and loftier in its general feel. The guitars and bass are downplayed to a considerable extent, and what little in the way of activity in the former department is sound in folksy melodic lines played by acoustic instruments. In essence, the electric guitars have become part of the rhythm section, allowing for a heightened role for the flute and keyboard lines, thus putting forth a sound that comes off as a lighter shade of metal that almost becomes rock.

Technically speaking, the culmination of this album sees a Falkenbach that has ceased to be a one-person project and listens more like a full band, and this is largely due to the inclusion of additional musicians. A good deal of this album's higher fidelity is found in the drum sound, which is notably crisper, while the beats imployed are a bit more elaborate and gripping thanks to the inclusion of a session drummer rather than a programmed drum line. Similarly, another individual makes an appearance to assist with vocals, resulting in a denser harmonic texture and an expanded clean vocal range that dwarfs the previous albums in that particular department. Consequently, this also marks a de facto abandonment of the black metal roots that defined this band's ambitious debut release. In this respect alone, it is quite understandable that the average black metal fan who might take to some of Falkenbach's material would be repelled by this album.

One thing is certain, the songwriting and pacing of this album is methodical to a fault. Essentially things begin and end of a particularly high note with two long-winded epics in "Vanadis" and "Farewell", both of them fairly similar to the brighter points on the last album. Themes are repeated constantly as droning rock riffs and married to animated folksy flute and acoustic guitar lines with a dense keyboard backdrop, together painting a musical image that hints at the visual majesty of the distant shores conquered by the original Vikings. Between them is a set of shorter and humbler efforts that have more of a ballad quality to them, particularly that of "The Ardent Awaited Land" which listens more like an interlude than a full song. The only one of these songs that kind of mixes things up a bit is "Homeward Shore" as it puts a bit more emphasis on the guitars and walks back to a more animated place while still being reminiscent of the coasting granduer of "Twilight Of The Gods".

This is the weakest of Falkenbach's full length offerings, contrary to what a sizable number of core fans might say to the contrary, and it falls all but entirely on the fact that things are just a little too structured and lacking in metallic edge. While Viking metal usually works best when played slow and with a grand atmosphere, this veers pretty close to sounding contrived rather than organic and natural. In other words, it listens like a man who simply wishes to walk in Quorthon's footsteps rather than try to expand upon his musical journeys. It gets almost to the point where I am tempted to brand this "Nordland III", though there are points where the melodies get animated and dance-like enough (particularly on "Farewell") that it leaves behind Bathory's rugged, slowed down music stoicism. It's a good album by any reasonable standard and will definitely sit well with fans of the genre, but it's pretty far from genre-defining.

For those who miss late Bathory - 79%
erebuszine, April 22nd, 2013
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It is perhaps particularly fitting that I should be taking a look at this album this week, what with the news we have just been given that Bathory's Quorthon passed away, on Monday, the 7th of this month, as Falkenbach (and the bands related to it, that is: the bands who fill out the recesses of the particular "folk" or "viking" metal genre) surely would not exist if it were not for the initial stimulation and guiding influence (plus continuing inspiration) that Bathory has provided for musicians who have sought to use this innately conservative (it allows for precious few deviations from its aesthetic pattern) genre for their musical effusions. I am not in the mood right now to trace every single origin point and progression of the viking metal genre, but it is obvious from just one listen to this album that Bathory's "Hammerheart" and "Twilight of the Gods" releases (if not the later viking Bathory records as well) have had a tremendous impact on Falkenbach's solo creator, to the point where he finds himself limited in his stylistic and/or creative potential by boundaries that Quorthon set in stone more than a decade ago.

Having pointed out the limitations that a genre like this imposes, I should also call attention to the fact that such a close concentration on specific aesthetic qualities frees a large amount of energy from the creative process for a basic perfecting of the traits offered in the music. Because the initial blueprint for the music is so traditional and/or artificially limited from the beginning from the musician's unwillingness to transcend genre boundaries and explode the conservative, time-worn, conventional structures or forms that can be offered, it correspondingly allows him/her more time and mental energy to "purify" what is presented on the record and/or concretely capture what he/she is trying to express. There are some musicians who would see that as only being a positive effect, I'm sure. Correspondingly, for the reviewer approaching an album like this, the choice of genre restrictions simplifies the entire "critical process" that would normally be applied to a work. All one has to do is compare this album to Bathory's work, notice/point to the deviations, label and categorize the "improvements", and briefly point out whatever idiosyncratic high points that might exist.

Falkenbach, then, of course follow the patterns/methods/forms of song composition first heard in limited doses on "Blood Fire Death" (the first song and title track) and then explored more in depth on "Hammerheart". That is: acoustic guitar intros or overriding ambient acoustic shadowing of electric power chords, acoustic melody introduction tailed by a switch to the same melodies on electric guitars, thick, stomping power chord progressions in straightforward, overtly repetitive and "trance-inducing" atmospheric form, a mid-paced, marching tempo and simplistic drum figures that pound out the end of bars with overemphasized, basic fills, swelling "viking" choruses composed of layered monotone, wordless voices (just singing notes, not lyrics), sound effects of water and evocative "viking-themed" cinematic additions, etc. All of this was present on "Hammerheart" and all of these things appear here. So, then... how does Falkenbach improve upon (if he does) the Bathory formula?

Well... he doesn't add anything new. If anything, as I alluded to above, he (Vratyas, sole member of Falkenbach) just attempts to clean up some of the stylistic elements found on the fifth and sixth Bathory records, perhaps draw their lines a little deeper, bring out some of the particulars cast in shadow, smooth and out and tone down other segments, etc. In terms of the production used, there is no contest as the rough/ready, sturdy, analog wash of Quorthon's tape machines (the master reels of which, if one believes what the man said himself, were subjected to level upon level of editing) has been left behind for a startlingly clear, sun-filled, crystalline and clean sound that captures the sounds of most of the instruments at their most powerful (at least for Falkenbach) and doesn't create "wavering points" or "crossover" gaps/shadows in the production where song elements can hide their inconclusive unreliability - unlike Bathory. What this also means, unfortunately, is that in this clean-all-too-clean sound a lot of the corrosive passion and heroic tonal strength of the analog has been left behind for a shade-less, sterile plain of simplistic song structures that can not quite meet the level of the "epic". It is as if... mid-period Bathory, simplified and reduced to its stylistic essentials, its most basic ideas, can not stand the scrutiny of the unblinking eye of a digital recording process. Much like what Graveland has been spitting out over Darken's last few albums, the disinfected, barren, almost mathematically conceived (insert riffs A and B into "epic" formula, calculate, record the results) song structures and basic forms of riff manipulation within those greater song types almost seem to call out for a curtain of tape hiss and wavering '80s distorted analog muddiness to cast their most dramatic moments into high relief. This seems to be a lesson learned from "Hammerheart"... and yet, how strange, this archetype of the "heroic" in music that requires, in the sound of its own unveiling, another veil/challenge of a "bad" production for its riffs to climb and clamber over? Art, in this case, mirrors its own delivery vehicle.

Falkenbach, however, are not actually worth - in my humble opinion - the hackneyed ruminations that I am wasting here. I can not understand how a musician can be so obsessed with a single genre form of music that he casts all of his creations (and this is hyperbole, probably misguided... as I'm sure "Vratyas" has two or three projects on the side, these guys always do) into that form and never attempts, outside of a few flourished, vain, inherently pointless asides, to escape the boundaries of that genre or create something new which may or may not reflect his own personality or character. One must remember that the "viking metal" genre was only one of the styles that Quorthon visited, as well.

Recommended only for those who place their dark hearts firmly in between Quorthon's fifth and sixth, or for those who salivate over empty genre forms devoid of genuine feeling or evocative power. Vratyas should be paying a licensing fee to Quorthon's family.

UA

Erebus Magazine
http://erebuszine.blogspot.com

They've done better things, even if it's not bad - 85%
CHRISTI_NS_ANITY8, February 12th, 2009
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The third effort by the mythical Falkenbach saw the light of the day just five years after an album that still now is regarded as a milestone in Viking metal. ...Magni Blandinn Ok Megintiri... opened the pearly gates to Vratyas Vakyas and his creature. Ok Nefna Tysvar Ty is an album that remains on levels of goodness even if it cannot beat the greatness of its precursor. To be sincere, this output took me aback a bit because it’s always quite good and you know how much is difficult to preserve that songwriting and come out with new ideas, without deforming the style and the music. Few changes took place as far the line-up is concerned and we can finally see session musicians for the album. Finally, the drums are real and without that plastic sound by the drum machine.

“Vanadis” has immediately gloom horn sounds as the first, majestic keyboards notes enter. Soon the other instruments enter along with the clean vocals. The progression is, as always, truly epic but we can meet gloomier sections too in which the atmosphere changes a bit to let the growlish vocals emerge too. The various overtures are always epic but not that awesome like the ones on the previous album. “...As Long As Winds Will Blow...” is beautiful for the use of the flute sound and the melodic arpeggios to create a truly pagan feeling while we continue with the clean vocals patterns. “Aduatuza” has sounds of a storm before the epic break with the unmistakable mid-paced progression. We remain on good levels but nothing astounding because on some points the formula sounds a bit abused, but nothing bad.

“Donar's Oak” accomplished its mission to bring in more acoustic touches as the guitars are on arpeggios during the biggest part of the composition. Another thing I’ve noticed that so far, the old black metal influences are almost disappeared if we don’t count the few screamed parts that don’t add almost anything in black metal, if taken aside. The road Falkenbach took after the second effort is the one of more melody and catchiness. “...the Ardent Awaited Land” is the next example of this style and it features clean guitars parts only, forgetting completely a minimum of heaviness. “Homeward Shore” is quite long and boring because features always the same style and melodies while the vocals remain unvaried.

“Farewell” contains really catchy folk melodies but we remain on decent levels. These last two songs let me down a bit even if they are not bad, absolutely. Well, like I said, it was difficult to reach again the levels of the first two releases and the band somehow failed but it’s not a total failure in the meaning of the word. It’s just a quite good album and I’m sure that if someone unknown had done the same album without releasing that previous masterpiece we would be here, bowed down to worship him. Anyway, Falkenbach fans, get this one too but forget about the black metal influences!

More of the same - 61%
Kraehe, March 13th, 2008
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Imagine Magni Blandinn Ok Megintiri, but lighter and with better production: this is it. Vanadis picks up where the last album left off with a cheap keyboard "orchestra" playing quite a pleasant tune without any bombast, which climaxes, then cuts out for the band proper. Credit where it is due, the opening vocal melody is stunning, and as-per usual, it is milked for all it is worth throughout the lengthy first track. The keyboard use is more subtle than the previous album, and the production is massively more refined. The guitars no longer have a raw edge or provide a large body to the music - they are quite restrained and 'nice' sounding. Almost identically to the previous album's opener, the lengthy opening melody gives way to a harsh vocal section which is done well - his 'black metal vocals' still sound decent. Slightly suspect drums during this segment, they become a lot closer and louder than the previous backing was, leading me to suspect that there is at least a little drum machine use or spot-micing in the production - perhaps like the 'timpani' whacks done in the previous album - probably on keys. This section is also accompanied by keyboards which switch from backing ambience to truly obnoxious "UH UH UH" sounds which continue unmodified for about a minute. This kind of crap is the stock effect for "EPIC CHOIR VOCALS" but it is shamelessly awful and sounds so little like what it is trying to approximate both in sound and form that it is inexcusable. The song then repeats. A lot. But frankly it can be forgiven as the vocal melody is just so good.

As Long as the Winds Will Blow is next, and this is probably Falkenbach's best song from this and the previous album. Beautiful beginning, with very good use of acoustic guitars (why didn't the band use them in the previous album?). A typically attractive clean vocal melody presents itself, and for once the track does not outlast its welcome and comes to a satisfying conclusion: it's perhaps the only Falkenbach track which does - usually the material is stretched to twice this length. Aduatuza starts with a sample. Nobody likes these, so let's ignore it. At least it's vaguely ambient. This is typical Falkenbach, the beginning is highly reminiscent of Walhall from the previous album, and then enters into a very standard Falkenbach melody which it feels as though I have heard once too often. Donar's Oak almost sounds routine. Unto the Ardent Awaited Land marks a change, using only acoustic guitars. Of course, the ubiquitous keyboards are also present, playing a "choral" melody barely better than the little shocker in Vanadis. Following the feel of the previous tracks, this is entirely too "harmless" - metal with this many rough edges removes becomes plain.

Homeward Shore is the first track to offer a riff that could be considered heavy. It sounds pleasantly epic with more acoustic strumming backing it (a welcome change from the keys). Unfortunately the effect is a blandness which even the short song length cannot dissapate. Farewell at least ends the album on a higher level. The vocal melody is appealing and displays echoes of Garm in Ulver's Bergtatt. The reason that this album is inferior to Magni Blandinn Ok Megintiri is that while it doesn't have the truly terrible distorted spoken vocals used there, the style has become formulaic and the overproduced guitars sound weak and sugary, boosting the overall lethargic feel to the album. A simple comparison of the opening tracks on both releases reveal an intolerable amount of similarities which allowed the later track to be extremely predictable. There are inspired moments in this album, and if the whole release was as strong as the first two tracks this would've scored 80% or more.

Where's the Black Metal influence? - 74%
oneinfinity, February 12th, 2008
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A while back I looked through my CD collection and searched for some albums that I had not listened to for a long time and stumbled upon Falkenbach's "Heralding - The Fireblade" and after listening to it for a while I decided to get some more material by Falkenbach. So I went to my local record store and ordered this album and after waiting two weeks I finally got to listen to it.

I was a bit disappointed. The album started out nice with the nine minute epic "Vanadis", with epic keyboards, pounding drums and... hey where's the guitar? There's no guitar, but instead this annoying flute playing the melody. The first time I could hear the guitar was when that guy started to do some black metal vocals. I hoped the album would continue like that, but I was disappointed again. That little bit aside, there's no black metal influence on this album and no riffs on half of the songs.

The second half of this album is better, it has some good riffs, which are not buried under a lot of keyboards and folk instruments. There are too much clean vocals on "Ok Nefna Tysvar Ty" and the drumming fits the music pretty well, but gets boring after a while. The only thing that's done nearly perfect is the usage of the bass. The bass lines are not really creative, but I like the way they are integrated in the music.

All in all, "Ok Nefna Tysvar Ty" is a solid album that fans of cheesy epic folk metal will like, but I personally prefer the more raw style of Falkenbach's other albums.

Best song: "Donar's Oak"
Worst song: "...As Long As Winds Will Blow..."

Great Folk/Viking Metal - 92%
PutridWind, October 17th, 2007
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First a little background info for newcomers to Falkenbach - Falkenbach was created back in 1989 by Vratyas Vakyas. After releasing numerous limited demos which are as good as impossible to get mp3s of nowadays he decided to release the first full length in 1996. It was released so late after the bands formation since he had been having trouble recording and getting the right sound in the studio where he wished to record the Fireblade, which was released 2005. On this album he also has a few session musicians helping him out with drums and such.

Sound/Production
The album includes guitars drums bass and keys (like almost every other "folk/viking/pagan" band nowadays). The guitars are mixed well and are very distinct, in contrast to the earlier cds. The bass is hard to hear sometimes but is definitely there. Drumwise I have no complaints either, drums usually sound good to me when everything is clearly heard as is the case here. They also sometimes play folk patterns/beats with tambourines and such. The keys are also very audible and mixed very well into the rest of music. They often play strings or folksy instruments like flutes. And finally, the vocals. They are what makes Falkenbach one of the best Viking/Folk bands in todays scene. Both harsh and clean vocals appear, though there are a lot more clean vocals then on the previous albums. The harsh vocals are excellent, they are kinda raspy and growly but they are still possible to make out (as far as what is being said). The clean vocals are also excellent. Many words are held very long and the vocals are very drawn out and somewhat monotonous, but in the best way possible.

Songs
The songs are all in the verse/chorus structure. It should be noted that there are not many riffs/melodies in the songs. Vakyas decides that quality > quantity and I have to wholeheartedly agree with him here. The riffs that do make the songs are all very excellent, some even catchy, and some that make for good sing alongs. The songs are all mid paced, there really is no fast tremelo style guitars on here. Instead they are more like the trudging power chords a la Burzum's "Lost Wisdom" and "Key to the Gate". The keys add epic feelings to the songs in the right places, and are not overused or cheesy. There are also lots of acoustic guitars, and while they are mainly strumming in the back of the mix, they also dominate songs like "Donar's Oak". On "Vanadis" the only harsh vocals (I think) can be found during the second part. I think "Vanadis" is very easy to compare to "When Gjallarhorn will sound" (from the previous cd). It is the opener, contains two sections (one with harsh vocals, one with clean) and is Aaround 9 minutes long. The drums features little double kick, rather there is more cymbol work, but always also a 4/4 feel with snare hits on beats 2 and 4 or 1 and 3 (no syncopation).

Pros
-Excellent vocals
-Memorable melodies
-Won't give you a headache

Cons
-Somewhat repetitive and redundant

Uncreative polished attempt, still good though - 85%
Shadow0fDeath, August 28th, 2004
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Falkenbach definately have a great overall sound to their musical style. A sound that is timeless and epic to most ears of true metal purveyors. While their sound is that dexterous, this game of theirs is getting quite old with this being my third Falkenbach. Their sound has a huge variety within it's depths, but there is no evolutionary point at all. The albums are situated with the same viking type sound as you listen to each release.

This album itself features many aspect from the debut album, En their Midh Riki Fara...including the return of the flute much missed in ...Magni Blandinn ok Megintiri..., as well as the love for use in the acoustic guitar. This album includes more majestic and balladic features in the overall viking metal sound. Also drifting farther away from the black metal aspects which flooded En their Midh Riki and which weaved it's way in and out of Magni Blandinn ok Megintiri. These slight adjustments show Falkenbach was still searching for their perfect sound with this release.

The beloved folk aspects that interest the many fans of Falkenbach gleam in the sunset as the beloved vikings are slain in the final battle. We say farewell to them as this album becomes a pure climax in this epic trinity of majestic folkish releases by Falkenbach. A purely timeless masterpiece of a trilogy that shows the evolution of one persons musical ambitions. The overall atmosphere is breathtaking with each release!

Sing praises to the Gods of old - 100%
NightOfTheRealm, May 21st, 2004
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A masterpiece! I, for one, am happy to see that Vratyas Vakyas has finally recovered from his automobile accident and has brought another Falkenbach album to light. It has been five years since the last Falkenbach offering, but OK NEFNA TYSVAR TY proves to be well worth the wait (Ok, I confess…I’ve only known about Falkenbach for perhaps two years, tops, but it is still worth the wait. Heh)

Falkenbach is one of the bands, along with mid-period Bathory and early Enslaved, that to me epitomizes everything which Viking metal stands for. The music is as epic as it can get, stimulating every sense of the listener whist evoking images of mist-enshrouded Nordic landscapes, Skalds singing their tales amidst the acrid curling smoke of the fire, robust warriors gathered about the great hall, sweet mead trickling down the throat, and a strong, spiritual feeling of a deep, proud culture. Whereas other bands claiming to play Viking metal, yet only focusing on raging battle music, Vratyas Vakyas, now with a full band behind his project, delivers a more complete picture of the Norse.

On one hand, OK NEFNA TYSVAR TY is a more laid-back album than its two predecessors. The guitars are not as heavy in tone and are softened by an increased use of acoustic guitar in nearly every track on the album. Additionally, gone are most of the growled vocals, which have been replaced with clean vocals that are almost chanted and trance-like. The synths also play a larger role on this album, although Vratyas is a master of the synths, incorporating them not so much into the background as they are so seamlessly woven into the entire song itself that they do not intrude at all.

While I mentioned that OK NEFNA TYSVAR TY is not as heavy in tone, it is a ponderous album in theme, mood and atmosphere. The additional musicians in the band somehow give a much fuller and richer sound to each song. This album is not one of drinking songs, but rather slow, doomy hymns in dark, forboding atmospheres to the Nordic culture. Also, the production on the album is as refined as anyone could want. Every note is recorded and mixed to fully integrate into a composition that is larger than the sum of its parts, yet there is not a single moment on the album that sounds too polished or artificial.

Great epic horns open the album to “Vanadis,” the longest song on the album at nearly nine and a half minutes. While the synths may convey a happy melody here, the appearance of the growled vocals emphasize the warrior’s theme of the song. “As long as Winds Will Blow” features a nice acoustic passage that creeps in and out carrying the main theme of the song that is perfectly balances the clean vocals as they rise and fall. A beautiful piece, and one of my favourites on the album. “Aduatuza” is the heaviest song on the album, falling into more of the “typical” Falkenbach sound. “Donar’s Oak” moves along with a catchy chanted rhythm with the strongest Viking feeling. The duet of acoustic and electric guitars that kicks in around 3:07 is the single best juxtaposition of the folk and metal sound on the entire album which is further accentuated by the flute that carries throughout the song. This one is certainly my favourite on the entire album. The last half of the disc is just as good, if not better than the first half. There is a rerecording of “The Ardent Awaited Land” from the first Falkenbach album, as well as the excellent “Homeward Shore.” Closing out the album is the final epic, “Farewell,” the second song on the album to clock in at over 8 minutes in length. As much as I loved Bathory’s NORDLAND albums, I must admit that Mr. Vakyas has displaced Mr. Quorthon as the current king of Viking metal.

While some listeners may find OK NEFNA TYSVAR TY to be an unconventional album, Falkenbach earns full points for a fine tapestry of the Nordic sound. The album’s sound is much fuller than its predecessor’s, and each song is absolutely enthralling.

(originally written by me for www.metal-rules.com, January, 2004)

...And Call Tyr Twice - 100%
chaossphere, April 21st, 2004
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While Falkenbach's first two albums - the more blackened approach of the debut In Their Med Riki Fara and the subsequent shift to a pure viking/folk sound on Magni Blandinn Ok Megintiri - were both quite excellent works in their own right, nothing on those discs was quite enough to prepare me for the genius that surfaced on album number three. Rumours of mastermind
Vratyas Vakyas being badly injured in a car accident were among the reasons offered for the five year silence which preceded this album - but whatever the case, Ok Nefna Tysvar Ty has distilled the purest essence of Nordic pride and the heathen spirit into 40 minutes of the most brilliant music i've ever heard. This has easily been my most frequently-spun CD since I got it in late January, and it's only now that I can listen to it objectively enough
to put it's genius into words.

This disc kicks off with a soaring nine-minute epic, "Vanadis". Amalgamating pounding drums (real this time, as opposed to the programmed sterility of the drums on the older material), soaring choral chants and subtle, restrained guitar work into an amazing whole, the song literally sounds like a battle-march of crushing proportions. Of course, rather than frontloading the album with the best song, this disc truly hits it's peak on the next few tracks. "...As Long As Winds Will Blow..." contains some of the most beautiful acoustic guitar playing I have ever heard on a metal album, while the vocals soar to previously unimagined heights. I'm guessing VV took some singing lessons in the last five years, because his vocal performance here completely annihilates his somewhat flat, timid singing on the previous album.
In fact, most vocals here are of the clean sung variety, with the second verse in "Vanadis" being the only standout section utilizing a harsh rasping approach. "Donar's Oak", meanwhile, contains a stunningly brilliant chorus (with lyrics in Icelandic, recited from the Viking tome Griminsmal) and more killer acoustic work. That's followed by "...The Ardent Awaited Land"
which is something of a sequel to the song "Into The Ardent Awaited Lands" from the debut. This one, though, is a mellow folk-ballad with subtle percussive drive behind acoustic strumming and restrained vocal murmurs. Then the album picks up again, with "Homeward Shore" returning to majestic bombast, before another 9-minute crescendo appears in the form of "Farewell", and thus the story is told.

There is really no way to describe the greatness of Ok Nefna Tysvar Ty in words. As someone once said, writing about music is like dancing about architecture - well, I usually do a decent job of shaking my booty in a certain way to express an opinion, but reviewing this album is like using a shaky, basic line-dance move to describe the Pyramids of Egypt. All I can really
do is unconditionally recommend that everyone see them with their own eyes, rather than take my half-baked running around at face value.

Decent, but nothing special... - 75%
mutiilator, January 22nd, 2004
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After the release of two incredible full-lengths (especially “Magni Blandinn Ok Megintiri”), it seems as though Vratyas is choosing a different path. The new album seems to be more oriented to the Viking aspect of his music, and less towards the Black Metal aspect. “Ok Nefna Tysvar Ty” is a lot less aggressive than the 2 preceding releases, and features a lot more melody. For most bands this would be okay, but it simply doesn’t feel like a Falkenbach album. A lot more chanting and clean vocals are present, and a lot of the harsher singing and pounding war-like drums is just a memory. The new session members don’t seem to make a huge difference, and Vratyas did an even better job by himself for 2 demos and 2 full-lengths. In the end, this is a decent album, but does not come close to the bar Vratyas set for himself with his first 2 releases. If you’re looking for a place to start with Falkenbach, check out “Magni Blandinn Ok Megintiri” first, then “En Their Medh Riki Fara...”, and then this one.

Heathen!!! - 100%
ChildOfTheTwilight, December 16th, 2003
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Great! Really great! The first time I listened to it i was a bit amazed, I've been expecting a more blackish sound like on the first 2 albums, but after a few listening I realized the majesty of this one...
It's very very epic, it takes you to northern lands through the mix of flutes, war screams, battle horns, particular melodies and paganism..
The help of session musicians from Vindsval makes the sound "warmer" than before, in sense of pathos... I love "...En Their Medh Riki Fara..." and "...Magni Blandinn Ok Megintiri..." but this one is somehow different, more clean vocals and fewer black voices, choirs and acoustic guitars that show the compositive genius of Vratyas Vakyas and his good taste for arrangements.
From the beginning, the intro of Vanadis, you hear the battle horn and sumptuous keyboards, and you feel rising to a majestic atmosphere... flutes then support the riffing and clean and triumphant vocals... It's very suggestive, the drum patterns are always essential with wonderful breaks, every beat at the right place, nothing excessive... The ingredients are the same wor the whole album, it's great to listen to it while travelling somewhere, or laid in bed relaxed and ready to taste every note...
The cover of the booklet represents very well the places where you are suggested to be, with the man on the shore with a fire burning, and black clouds filtering the light of the sun... Ok Nefna Tysvar Ty is pagan pride at its highest level, throughout 7 magnificent tracks with great production...
The hall of bronzen shields awaits Falkenbach to glorify them...

Captain without compass - 70%
Felix 1666, February 2nd, 2019
Written based on this version: 2005, CD, Napalm Records
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"Heralding - The Fireblade" is no regular full-length, but a re-recording of older songs that are mixed with some previously unknown tracks. This fact alone makes it slightly difficult to describe the album as a whole. "...of Forests Unknown", for instance, is based upon some straight and fast-paced, double-bass driven verses, the voice conveys pure combativeness and every Christian camp near the Northern coasts is on red alert. A very strong number that pleasantly reminds the listener of some pretty harsh tracks from the debut. But don't think that this piece represents the complete material. Generally speaking, the compositions follow a relaxed and "skaldic" approach. Fast rhythms do not play a very prominent role and the vocals switch from clean to aggressive and back to clean. Each and every number has a sufficient substance, but I miss some furious moments. Especially "Hávamál" does not belong to the most adventurous tracks I have ever heard. Indeed, some parts of this patchwork don't work and deliver rather fatiguing sequences.

Okay, let's stay fair. The sixth track boasts, among other things, with fantastic guitar lines and explosive drums. It storms over the Northern sea like a natural force, doesn't it? Yes, but it has already been released on the debut. Even the opener is already well known, it appeared on the second full-length. To be honest, it remains a mystery, why the artist recorded these pieces once again. I admit that "Heathen Foray" (once titled "The Heathenish Foray") reveals its full potential for the first time. Falkenbach celebrate a majestic, mighty and triumphant epic and it would have been a great bonus track, no doubt about it. Nevertheless, I don't understand why it was chosen to kick off the album. Has the captain of the dragon boat lost the orientation? Either way, the dubiously compiled full-length has more in common with the (too) restrained "Ok nefna tysvar ty" than with the first two works and some almost shy compositions suffer from seemingly endless "ooohooohooo" or "a ha ha" vocal lines. Where is the rage of the Northmen? In my humble opinion, acoustic guitars are not the right vehicle to transport their archaic way of living.

Production-wise, "Heralding - The Fireblade" has no reason to fear any comparison. The album sounds warm yet powerful, robust and well-balanced. This and the fact that the lone wolf behind this project has a talent for great melody lines result in a decent work, even though some songs seem to be left unfinished. Especially the endings of a couple of tracks convey a surprisingly awkward approach. Nevertheless, once one has got used to the album, it's a pretty good soundtrack for a relaxed Sunday afternoon (or a Saturday without football). Falkenbach was and still is a force to be reckon with, because its outstanding artistic quality always shimmers through, even though it does not always shine in full glory on this output - and that's the reason why the rating does not exceed the 70% mark.

The shining golden armour of Vratyas Vakyas - 100%
Nihil Seitan, September 12th, 2017
Written based on this version: 2005, CD, Napalm Records (Digipak, Limited edition)
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There have been huge waves of Viking-age-loving bands coming and passing through the last 30 years; so many of them fell to their end and were forgotten in oblivion; and so many of them rose to fame and forgot about their true purpose: to spread the ideology of their forefathers and “hail Óðinn” through their music and lyrics. Now I am not a critic of being famous and composing music for a wide range of people –a.k.a. doing it in a “pop” way- but the thing is, as soon as a band, especially in metal, become pop, they somehow lose their spirit and epicness. And in viking metal, it is a common problem happening to those bands who manage to survive in today's metal scene.

But still, there are a few bands who stay true to their roots and put their origins into their melodies, rhythms, and songs. Falkenbach, in particular, is one of those bands. Starting in the late 80s, the mysterious sole member Vratyas Vakyas has tried his best to translate the Old Norse legends and tales into music. And wow! He’s been absolutely successful, for Falkenbach –in my opinion- is one of the greatest viking metal bands in the last three decades, if not the best. (I know all those vikingheads now rise in rage and shout: “what about Bathory, you freak?!” But truth is, I love Falkenbach more than Quorthon’s own epic journey through the Viking age.)

Heralding – The Fireblade, is their 4th full-length and it is definitely the best among all their previous and later releases. It is mentioned by Vakyas himself that he planned to release The Fireblade in 1995, but didn’t due to equipment and Odin-knows-what problems. And I must say that I’m truly glad that he didn’t, because now, whenever I listen to the album, it just takes me to another time, another world, and another reality. Amongst this epic musical journey are re-recorded versions of masterpieces, Heathen Foray and Heralder, which was released on previous albums, and here on Heralding, they sound better than ever. They talk to the listener, they light this weird feeling of honor, pride, bravery, and adventure, and they simply manage to blow one’s mind. For instance, the singing and monotony of the rhythm on Heathen Foray creates a state of trance and truly pictures a golden age, where poetry was a way of storytelling and gods and men and legends lived together; therefore, this track is one of the best openers of an album in the history of viking metal. And after a while, in the middle of the album, comes Heralder, a beautifully forged piece of music, followed by an epic poem of heathendom and heritage. It is a true hymn to those ancient times when Vakyas always tries to picture through his works.

But as I’ve listened to Heralding countless times since it was released, I can tell you that the highlight on this album is Hávamál. It’s got more folk elements and less black metal-ish approach. The acoustic guitar makes a wonderful atmosphere through the song and Vakyas‘ vocals create a pure sense of melancholy. It treats the listener in a way similar to Heathen Foray, for it builds a trancelike mood and progresses slowly until the very end, where a solo guitar is heard playing a melody full of vibe and emotion, and then ending the song in a similar manner to the beginning, with only an acoustic guitar and melancholic vocals. It is safe to say that Hávamál is one the most memorable pieces done by Mr. Vakyas.

About the whole Heralding experience, I can assure you that there is enough variety in music that you won’t feel tired and will be even surprised by different elements on the album. For instance, you can hear a more black metal side of Falkenbach on …of Forests Unknown, which is a thunderstorm of catchy riffs and harsh vocals; or some symphonic spices on Skirnir, containing some beautifully composed choirs and violins; or a slow and heavy presence on the instrumental piece Gjallar, which also features some solo work similar to those heard on Hávamál.

Engineering on this album is professionally done; drums are real and spirited and perfectly played, which makes the album better sounding than the first two albums, where drum machines were used and ruined the epic sound of Falkenbach. Guitars have a unique and heavy sound and can be recognized upon hearing the first seconds of songs. And last but foremost, Vakyas’ mesmerizing voice is the strongest factor present on this album and also makes this project unique in the vast world of Viking-themed music.

Heralding – The Fireblade is an essential listening and is recommended to all those vikingheads and heritage enthusiasts who enjoy listening to Poetic Edda or epic lyrics inspired by it in a metal outfit. Do not miss it, kids! It happens once in a lifetime.

Recommended tracks: Heathen Foray, Heralder, Hávamál

Even their weakest effort has it's golden moments. - 73%
linguist2011, October 22nd, 2012
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Falkenbach's fourth album, “Heralding-The Fireblade” has an interesting bit of history surrounding it. First and foremost, many of the songs found on this album were actually written by long-standing member Vratyas Vakyas for a supposed debut album entitled “Fireblade”, yet unfortunately due to equipment troubles and problems with the production, it never ended up getting finished. The other interesting thing that leads off the aforementioned point is the fact that there are two rehashed versions of older songs in Falkenbach's back catalogue-That is, 'Heathen Foray', a new version of 'The Heathenish Foray' from the “Magni Blandinn Ok Meginitiri” album, and a version of 'Laeknishendr' from the band's debut album, “En Their Medh Riki Fara”.

However, 'Heathen Foray' turns out to be both a slight disappointment and a bad way to introduce a Falkenbach album. The most instantly noticeable thing about it is the main weakness of the entire album-The clean vocals. It's not something that Vakyas has ever really seemed to struggle with in any of the band's albums prior to “Heralding...”, but here it appears that the man himself wants the song to end as soon as possible, as the laziness of his voice also drags the entire song down into eventual boredom and monotony. Not only that, but the lyrical content here is far too excessive for a song as originally well written and composed as 'The Heathenish Foray'. For the first four or five minutes, Vakyas croons zombie-like as each particular lyric passes by without any power or heartfelt emotion, instead appearing as a damp squib. For a band that is well known for their excellent songwriting and stellar compositions, 'Heathen Foray' could well have been axed from the album to save any listener skipping to the next track.

These flaws continue over the next two tracks, but thankfully are not as prominent. 'Of Forests unknown' begins to sound very promising indeed when a furious Tyrann screams his heart and soul out over each particular lyric, giving power and emphasis to the overall song itself. The aggressive nature of each instrument and faster pace provides some interest to the listener, yet one can't help but think that for a near four-minute song, there are just too many lyrics to fully embrace the performance of the instruments themselves. Instead of noticing how excellent the guitar work is, or how powerful and epic the atmospheres are, it seems that the harsher vocals, which do work well, are a dominating force. This isn't necessarily a bad thing, but for a band like Falkenbach who excel at their instrumental performances, this could well be off-putting to many a fan. The very melancholic 'Havamal', with its cleverly intertwined acoustic guitar interludes and sorrowful violin passages, also appears very well written, but yet again, as on the album's first track, Vakyas' clean vocal delivery is limp and doesn't add anything bar an extra annoyance to the song itself, suggesting that he is desperate to make his voice known.

You'll probably have read the last couple of paragraphs and be asking yourself “Is this album even worth my time?”, and you could hardly be blamed for doing so. Fear not though, for the album's first three tracks are in fact the worst. On the fourth and most furiously performed 'Roman Land', harsh vocals take center stage and rip right through everything intact, and although the instruments still can't be heard properly, it gives off a more interesting and engaging effect than on the last three songs. The similar song structure of 'Walkiesjar' also adds flavour to the album's general sound, yet never seems to suffer from mediocrity or bore the listener as more folk instrumentation is used to its full effect. Even the instrumental closer 'Gjallar', which is strongly reminiscent of the band's first album, “En Their Medh Riki fara”, powers through with its solid guitar performances and wispy keyboard work.

Arguably the highlight of this album is directly in the middle-One of the most progressive and perhaps experimental songs in Falkenbach's career, 'Heralder'. At first the clean vocals don't really seek to impress, but with the inclusion of some excellently performed narrative work and more folk instrumentation, the songwriting is, for once, heartfelt and emotional, as epic atmospheres soothe the listener's ears before crumbling them to dust with some very solid yet deviating guitar rhythms. Not only that, but the narrative work features some astoundingly good lyrics, and one female voice that appears much stronger and more powerful than Tyrann himself. Throughout the song a story of epic proportions is told, as “...the man dismounted and his horse was taken by its bridle to be brought into the stabling/Meanwhile he was brought to the hall where the king sat on his great seat” and “After three days and nights of riding the frontier they reached/with their hearts wholly determined/And encountered the christian church in their once sacred woods”. Reading that to yourself now it wouldn't probably seem as if it was that impressive, but on a background of stellar musicianship and lush atmospheres, it proves to work quite well.

“Heralding-The Fireblade” has a fair few flaws, but also manages to save itself from becoming a disaster by using excellent narrative work and some very well used folk instrumentation. Although this album would only be liked by long-time fans of the band or for those interested in tracing the band's history, it still does offer a few surprises. If you want to listen to 'Heathen Foray' and 'Laeknishendr', you would be better off listening to their original versions on the “Magni Blandinn Ok Megnitiri” and “En Their Medh Riki fara” albums respectively.

Return to the roots - 100%
zaebangad, August 20th, 2006
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A friend of mine once told me: "Falkenbach is created for headbanging" This album proves he was kinda right.
The Fireblade was supposed to be released in 1995 or something. However, because of some crap with the equipment, Falkenbach wasn't able to release it. So, here it is folks, 10 years later. And it sounds superb!

Vratyas returns to his more blackish roots with this one. The folkish is still there, but the black has (most of the time) taken over. Some songs have been rewritten, some that we've never heard have been put in, and all in all, I think Vratyas has done some pretty good work. What I like most about the album is that it manages sounding kinda like a 1995 piece of music, while still being recorded with modern equipment.

Heathen Foray - although a version of Magni Blandinn's "The Heathenish Foray", it still sounds pretty fresh and awesome. It starts (as most Falkenbach songs do) with sounds of a shoreline, working up the ambient, when suddenly, bam! Vratyas starts up those guitar riffs and gets things moving. Perfect balance between folk and metal! At the end, Vratyas gives us something that remarkably sounds like a solo, something I only remember Falkenbach to do on Magni Blandinn's "When Gjallarhorn Will Sound".

Then comes "Of Forests Unknown". This one is solely black metal - oriented. Starts up with a single bass note, just before Falkenbach slams those heavy and fast riffs in your face! Nice shouting encompanies the grinding of the guitars. As is his style, Vratyas suddenly stops the song at parts to give you a more melodic (yet, undeniably heavy) riff, before he continues the bone-crushing black metal riffs.

Havamal - this one's up next. For some reason, the album's tone suddenly turns folkish, with acoustic guitars and grinding riffs coming up simultaneously. Clean vocals accompany the whole piece, so Vratyas keeps things more viking than black. At a certain period, another solo-typed thing can be heard playing. The ending is superb, with the guitars stopping, Vratyas singing a couple of lines (which are by the way taken from the Norse poem Havamal, as the name suggests) with his clean vocals, and the whole thing ends pretty viking-esque.

Roman Land - Another major shift to blacker metal, this time Vratyas shouts at you stuff in what I believe is Old German, with occasional English. Blast beats and moderately-fast riffs prevail the song, with (once more) sudden halts, which Vratyas uses to tell you some old heathen sayings, and once he's done, the song goes back on track! A superb example of pagan black metal.

Heralder is one of my favorite songs. Again shifting to folkish, it starts with another mini-solo just before Vratyas starts shouting as the keyboards give you an "exalted" atmosphere. Mid-song, the poetry (and heavy riffing) stops, and the storytelling Vratyas tells you a nice little story. Then he continues his heavy, yet melodic way. Right amount of black, and right amount of viking.

Laeknishendr - I hold this song as the best one I've ever heard! I heard it long ago on a Battle Metal Compilation and it has been haunting me ever since! This song was the one that led me to Falkenbach (and folk metal in general)! At minute 1:42, the black metal stops and Vratyas starts one of the most wonderful folkish melodies I've ever heard. I always pick up my acoustic guitar and I just can't keep myself from not playing the melody and singing along (the text is in Old Norse, which proves what kind of a geek I am). Afterwards, he returns the song to its black metal course, just to twist it back to viking at the end. Along with its counterpart on En Their Medh Riki Fara, Laeknishendr is undoubtedly my favorite song!

"Walkiesjar" is sort of a battle song. It starts out with war drums and continues with Vratyas' black metal riffing and shouting. It is quite short (3:50, with the song serioulsy starting at the second minute), but a great piece of metal music. Truly majestic viking black metal, it relies heavily upon heavy riffing, but still maintains a great viking battle atmosphere.

Skirnir - This is a superb ending for a superb album. In its core, it is a (sort of) black metal song with sudden pauses where Vratyas (and for the first time, a female vocals) goes deep into narrating, just to return to those standard black metal shouts and shrieks.

All in all, a perfect balance between folk and metal, between viking and black, and old and new material. Sure, it sounds pretty much like the other Falkenbach releases, but that doesn't mean it can't be a good release! I think it's a pretty efficient comeback to the earlier (and heavier) Falkenbach releases, stepping away from the mainly melodic and folkish Ok Nefna Tysvar Ty. Buy this album, it'll kick your ass!

A Bit Disappointed... - 67%
ict1523, July 1st, 2006
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I fell in love with Falkenbach when I heard "Ok Nefna Tysvar Ty". I loved the melodies, the sounds of nature, and the elements of folk and viking combined. Obviously, I was fairly excited when I heard of a new album coming out from Falknebach. I was hoping for another fairly good folkish/viking album, and was also hoping that it would be a bit more heavy, as the other album in my opinion had too many clean vocals and didn't sound too metal at all. Well, I did get some heavier songs, and I definitely got some nice growling, but this album really didn't deliver anything new, and this is where it disappoints me.

The album has folkish instruments, great vocals, nice melodies, and sounds of nature. However, there is one problem. Half the songs sound almost exactly the same as the last album. I don't mind when an album keeps the same style, or even when the riffs are repeated often in more epic songs. However, in this album, there really isn't enough variety, and the riffs aren't the killer awesome type that you could hear over and over again without getting bored. Here I did get bored.

The album starts off with "Heathen Foray". This is a pretty good song, with the sound of waves at the beginning, and it isn't a very heavy song, with a lot of clean vocals, but at 7:15 in length, it is too long for its own good. By 4 minutes into the song, I'm saying to myself when will it end?

"Of Forest Unknown" is a bit different. This song is much faster and heavier than the others. The vocals are harsh and raspy. The guitars are heavier, and you can't hear as much folk influence. This song offered something different and was still good which is why this to me is one of the best songs on the album.

"Havamal" is a decent song once again. But it is long, and it isn't very heavy. It starts off with singing and acoustic guitar. Fine by me, not boring. About 27 seconds into the song, the singing continues but the drums and heavier guitars come in. Pretty good so far. However the song suffers the same problem as the first. While it doesn't get as excruciatingly boring, I still end up switching the track before it is over. Except this time more like 5 minutes into the song instead of 4. Mostly because the solo towards the end keeps me listening to it for a bit.

"Roman Land" starts off with a nice guitar riff, and then some rolling drums. This song is very nice. Not too much folkish influence, sounds like Viking Metal with a touch of black. The vocals here are very good too...they sound like a slightly weaker version of Manegarm's vocals. Nicely done, the riff repeats itself a lot, but it is a good one.

"Heralder" swings back again to a more folkish tune, but the song has growly vocals mixed in with the flutes and guitar, so it actually sounds very nice. Almost like Finntroll a little bit. Decent song and one of the best on here.

"Laekmishendr" starts off with a heavy, fast-paced riff. It is a fairly heavy song with a few breaks for some flutes and acoustic guitar. A bit long, but at least it varies.

"Walkiesjar" starts off with some distant drums getting louder and louder before the guitar kicks in. But nothing really gets going till about 1 minute into the song, and then the riffs just get a little louder. When the vocals come in at 1:19, then the song gets a bit more melodic and even atmospheric. Much better after that boring intro.

"Skirnir", the last track on the album, goes back to some folkish tunes with clean vocals. The song isn't that great though, it has some people cutting in and talking at times with the instruments playing which is a little annoying. And the same riff being played over and over gets annoying as well.

The album on a whole isn't bad, but goddamn, those riffs after the second or third listen can drive you insane. Moonsorrow and Graveland's riffs are good enough to be repeated over and over again without getting on my nerves, Falkenbach's sadly are not. I was hoping for more.

Majestic - 95%
Koolacc, June 29th, 2006
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Being a viking metal fun I'm having really a hard time nowadays, Bathory won't release any new stuff, Thyrfing get worse and worse and Manegarm bore me :S Thank God for last Moonsorrow CD Verisakeet which really pleased me and above all for the release of Heralding – The Fireblade. Falkenbach, one-man project of a man hiding behind a name Vratyas Vakyas, don't know how to let down a listener.

For his new album he invited also musicians from the band Vindsval to assist him and he decided to take the new album as a re-release of the never released debut album Heralding. Moreover he added newly recorded versions of some older songs as well as brand new compositions. The result is breath-taking. Majestic slower passages sung by Vratyas alternate with black metal shrieked parts, swinging tones of an acoustic guitar turn into carving riffs. It's damn hard to find and album, whose atmosphere while listening to it absorbs you in such a way as Fireblade does. The best thing to do here is to close your eyes, let yourself drag by the music and relish.

Heathen Foray, Havamal, Heralder, Laeknishendr and Skirnir, these songs were re-recorded and in the new arrangement (the vocals changed, sound as well, of course) they are just excellent (I cannot say anything about Havamal and Skirnir, because I haven't heard the originals :-( ). Interesting thing is that after listening to these remakes I still enjoy listening to the old versions immensely. Other songs are of the same quality, indescribable with words, monumental viking hymns you that you just have to hear for yourself ...

Theres hardly anything else to add, fascinating album, which in the digipak version offers the song Gjallar as a bonus, which if you manage to get will only increase your joy from the record (it's also a masterpiece :-)). I didn't give this album a 10 only because I don't know what rating to give to the next Falkenbach album (assuming there'll be one). I really don't know what o expect from it, because in order to outdo Heralding – The Fireblade it'd have to be better than a perfection and I don't think that is easily achievable :-)

Written for http://www.metalzone.info

The Magnificent Pagan Scenery - 95%
nick_forest, June 24th, 2006
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Falkenbach's melody is unique. It conveys a sense of melancholy, taking you to the northern land where the mountains are cold and the rivers and lakes are freezing. Compared with other Viking bands, Falkenbach is more epic and mysterious. The melody is weird, folkish, simplified, and absolutely great!

Heralding - The Fireblade is the 4th full-length album of Falkenbach. It is the combination of the three previous works. The first song reminds me of Vanadis in "ok nefna tysvar ty" and make me impressed. Then comes a blackened and fast work "Of Forests Unknown". My favourite song in this album is "Havamal". The first time I listened to this one, I was travelling by bus from Hangzhou to Mount Mogan in China. The fantastic acoustic and pagan melody added to the beauty of the natural and isolated scenery along the country road. This is a typical work of Falkenbach and the feelings expressed by it is most suitable when you are travelling in nature, where the sun shines behind the grey sky and the landscape is wide and distant. "Heralder" is based on a decent keyboard ambience, and develops into an incredible part at 2:20, where the folk melody is so nice that I'm lost in it and even don't want to get out. The acoustic section in "Laeknishendr" is impressing, followed by fast blackened riffs, expressing the beauty of pagan culture. "Walkiesjar" is also a decent work, the highlight of which is its steady drums in the beginning and ending part of the song and the chorus is also great. The last work "Skirnir" has a theme whose melody is similar to that of "Heathen Foray" and of course the typical Falkenbach style, well mixed with the blackened part.

In addition to the songs, the art work of the cover is also great. It is similar to the cover of the last album and describes a place where you're supposed to travel while enjoying the music of Falkenbach. Check this album out, it will take you to a weird and mysterious journey and let you return to the freezing landscape of the pagan northern land.

Another great one from Falkenbach! - 93%
cyclone, December 20th, 2005
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Falkenbach are one of those bands we can always count on. One man band in the form of mysterious Vratyas Vakyas (originally from Iceland) has been active for quite some time now... 16 years, to be exact (the first Falkenbach LP is almost 10 years old by now, though). In that time, it has given some of the most stunning metal ever made - Falkenbach records are all like journeys into the world of mythical battles, Vikings, pagans, snow and ice. Even though there has been some kind of a boom of artists, that try to play atmosferic and epic blackened folk metal like Falkenbach does, Vratyas is completely out of their league. I don't know anyone else that would have such sense for melody, atmosphere and composition as him, except for late Quorthon of Bathory, Odin save his soul.

It's dead easy to picture the things their lyrics talk about when listening to Falkenbach record. The mixture of acoustic guitars, discrete keyboards, atmospheric folk instruments and Vratyas' clean vocals creates some beautiful imagery of serene northern landscapes in your head. If one is a fan of viking/folk metal, he of course knows that the images will soon change. And yes, the music eventually changes. Clean chanting is replaced by rough blackened screams, acoustic passages are now distorted black metal riffs and the drumming is getting faster and faster. We are now in the middle of a fight between christians and pagans.

And that's also the best thing about Heralding... It includes all those elements from the previous column, which we liked so much on previous Falkenbach records. Heralding shares most simmilarities with the epic Magni Blandinn Ok Megintiri, since it's tamer than the Falkenbach debut, but much wilder and meaner than it's direct precedessor. The highlight of the record is definitely epic and and atmosferic Havamal with it's great acoustic parts which eventually graduate into powerful and energic chanting parts. Laekmishendr is a re-recording of a song from En Their Medh Riki Fara and is so most simmilar to the raw black metal songs from that record. The rest is always somewhere between epic atmosphere of the clean parts and speedy black metal of the rough ones, but stays unique at all times.

Heralding - The Fireblade is a proof that Vikings are far from being extinct and that even in 2005, you can record a timeless classic. A definitive must for all fans of viking/folk metal!

Avoiding rapids - 73%
Felix 1666, February 3rd, 2019
Written based on this version: 2011, CD, Icarus Music
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First rule: either you have absolutely meaningless song titles which are not worth mentioning or you should not print them in black letters over a picture with black trees. Falkenbach forgot this golden rule on "Tiurida" and therefore I welcome you to songs like "Tanfa...?" or "Runes shall... w". Thank God, we have M-A that helps us. Nevertheless, a crude design, but the sound of Falkenbach's fifth full-length does not suffer from comparable deficiencies. "Tiurida" is based on a clear, organic appearance which gives the music room to breathe.

So what about the music in general? The heathen from Düsseldorf has always had very good song-writing skills. The intro can be neglected, but each and every of the remaining tunes scores with coherent, slightly hypnotizing melodies. Falkenbach paint great pictures of sweeping landscapes and their vastness is fascinating. Sometimes the songs have a melancholic touch, sometimes they appear as the soundtrack for a long and silent journey through autumnal forests. The material is located between folk and metal and I wish that it would be slightly more powerful, but the one-man-army behind this project seems to be the epitome of inner balance. Even the tracks with darker, more vehement parts, "In Flames" for example, have surprisingly soft facets. Honestly speaking, these configurations remain a mystery to me, because they drain power from the tracks. "In Flames" starts with enchanting yet robust guitar tones, but its silent middle section reduces this very promising number to a normal level.

Let the truth be told, it's not easy to be fair to an album like "Tiurida". On the one hand, I appreciate the fact that the music relies on outstanding melodies. Moreover, the artist still does not focus on commercial success. He seems to play what he feels and he does not care too much about the expectations of his supporters. On the other hand, Falkenbach once performed a more combative style and I miss the rapid rhythms of the debut. Furthermore, all melodies point in the same direction. This results in an homogeneous output, but the level of excitement remains manageable during the entire playtime. Maybe (or surely) I am not the right person to review this kind of pretty cautious music. I like it, but it does not make my pulse run faster. "Time Between Dog and Wolf", the only song with more or less aggressive and raw vocals, marks the exception to the rule. However, I don't understand why Falkenbach did not pen one or two "real" metal songs. Even this mid-harsh number is equipped with Tiamat-esque background vocals ("aaa-haaa-haaa-haaah"), just remember their quite strange "Wildhoney".

After all, one thing is certain: "Tiurida" is free from fillers. Falkenbach's first outputs remain untouched in terms of quality, but this album makes more sense than the slightly half-hearted compilation "Heralding - The Fireblade". The captain avoids rapids and due to this, he does not show his entire competences. This and the fact that the German poem in the booklet is also hardly readable are marring the overall impression of a good yet somewhat defensive work.

Great at What They Do, But They Only Do One Thing - 50%
FullMetalAttorney, April 21st, 2011
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Germany's Falkenbach is one of the oldest folk metal bands out there, having formed in 1989. They are also cited as an early viking metal band. Tiurida is the band's first album in six years, the longest they've gone between releases since their first album in 1996. I had heard the band before, but I couldn't remember anything about them. So, I decided to try it out.

The album starts with a minimalist intro before moving seamlessly into "...Where His Ravens Fly..." You know those aerial shots they use in movies where the camera moves quickly but steadily over the landscape? Imagine one of those going for 7:25, showing a fjord-dotted coastline with waves crashing, before finally panning the camera upward to watch the sunset and fading to black. But instead of a camera and an actual coastline, this is constructed with slow-paced guitars, folksy flute, massive drums, and epic clean singing. It's an astonishing feat to create this vision, especially when the lyrics are in some language incomprehensible to me.

But then imagine they repeat this shot, over and over again with slightly different landscapes, for the course of the whole movie. Sure, sometimes it moves mid-paced instead of slow, the vocals occasionally go into an At the Gates style growl, and the folksy parts might be provided by guitar or some other instrument instead of just the flute. It's one establishing shot after another, but there's only setting and no plot, no conflict, no action to be found. To be fair, Falkenbach is incredible at what they do. But they only really do one thing.

The Verdict: I see the appeal of this kind of music, but I can't figure out why anyone would want to hear a whole album of it. It's frankly quite dull after a while. I guess now I know why they didn't leave much of an impression the first time.

originally written for http://fullmetalattorney.blogspot.com/

Brings the folk! - 85%
SparrowDay, March 22nd, 2011
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Originality is hard to come by in the vast realm of folk metal. Although the music can certainly be catchy and undeniably fun, the essence of the word ‘folk’ is seemingly lost within much of the culture. This is why Falkenbach mastermind Vratyas Vakyas’s understanding of, and dedication to, traditional folk music sets Falkenbach at the top of the pack.

The first Falkenbach demo Havamal (1989) was purely clean folk music, and although the compositions have since been infused with metal touches, Falkenbach’s latest release arguably keeps closer ties to folk music than it does heavy metal. If any band deserves the title of ‘Folk’ or ‘Viking’ metal, it is Falkenbach, and Tiurida is perhaps the finest example of it yet.

No Falkenbach album would be complete without a mood-setting introduction, complete with falling rain, crackling thunder and chirping birds. Although this has pretty much become the norm in the folk/viking metal community, a look at Vakyas’s vast catalogue pretty much solidifies him as one of the originators of such techniques (aside from the legendary Quorthon (RIP) of Bathory, notably one of Vakyas’s biggest influences).

Although it would be difficult to accuse Vakyas of stealing such ideas from other contemporaries, anyone familiar with previous Falkenbach albums can easily parallel this intro to his past efforts. The first track from the 2003 opus Ok Nefna Tysvar Ty opens the album with a nearly identical sound-scape – a distant foghorn transitioning seamlessly, and in tune, into the first track of the album.

Although it’s hard to ignore such blatant borrowing from Vakyas’s previous works, the production and effectiveness of the section have certainly been improved after 8 years. The grand notes of the foghorn effortlessly set both the notes of the first song and the mood of the entire album in one swift stroke – informing listeners that the atmosphere and songs are not two separate entities, but rather one powerful force that carries its audience into the olden worlds of Nordic mythology.

The first full song ‘…Where His Ravens Fly…’ is a perfect example of Falkenbach’s current, matured sound. While older releases relied heavily on synthetic string and wind instruments to create that ‘Viking’ atmosphere, this first track displays how an eclectic array of folk instruments and lush vocal arrangements can achieve a similar character even more effectively.

The heightened production and relatively simple compositions of Tiurida greatly lend themselves to this organic sound. Vakyas’s use of distorted, drawn-out chords fashion a perfect palette for acoustic guitars and flutes to play melodies and harmonies above. ‘Runes Shall You Know’ and the closing track ‘Sunnavend’ are both prime examples of an acoustic guitar taking the melodic lead, while electric guitars provide a harmonic backdrop.

In addition to Vakyas’s unique arranging methods, he is not afraid to introduce major key and modal elements into his songwriting. The lively instrumental ‘Tanfana’ features a bright Lydian melody performed by a flute. In the dark and brutal realm of heavy metal, to call such composing rare would be an understatement. These unique experiments make Tiurida an exciting listen and, once again, tie Falkenbach’s roots much closer to folk music.

The darker expressions on Tiurida are executed in a slower and more brooding fashion than those on Falkenbach’s previous full-length, Heralding – The Fireblade. This 2005 release featured a very broad range of dynamics from track to track, switching between mid-paced Viking anthems and furious pagan black metal. Tiurida’s dynamics rely much more on diverse harmonies and melodies, rather than drastic changes in speed and aggression. For example, both ‘Time Between Dog and Wolf’ and ‘In Flames’ march at similar paces to many other tracks on the album, but the shrieking vocals and predominately minor chord progressions set them apart as much more melancholy offerings.

These changes in mood make Tiurida an emotionally compelling listen from start to finish, and the subtlety with which this is achieved lets the album truly feel like a single entity, rather than a collection of songs – and this is where the album prevails over its predecessor. (This is not necessarily surprising, for Fireblade was comprised of many rerecorded demo tracks, whereas Tiurida is newly composed material.)

Rather than folk-infused metal, Tiurida would almost be more accurately described as metal-infused folk. Stripping away the distorted guitars and harsh vocals, the listener is left with infectious and memorable folk songs. Similarly to other great folk metal bands, the heaviness simply adds power and heart to these epic tales and myths. Although this latest Falkenbach recording may not be the most daring step forward, its strong songwriting and diverse instrumentation will give even the most casual followers of the genre an extremely satisfying listen.

(Originally written for http://www.guitarmessenger.com/reviews/falkenbach-tiurida/)

Good not Great - 66%
JDeathScript, February 9th, 2011
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Under the moniker Falkenbach, Markus Tümmers (aka Vratyas Vakyas) has been producing his own brand of Bathory-esque folk metal since 1989. In that time he's managed to release, on top of a handful of demos, a total of five studio albums. Tiurida, his fifth, came after an over-long period where fans had heard no new material. The previous album, Heralding- The Fireblade, was a re-recording of many of his early demo tracks and the album preceding it, Ok Nefna Tysvar Ty, was released eight years prior to Tiurida.

While eight years is a long time to wait for new material, the name Falkenbach stayed on the tongues of folk metal fans and Tiuridaquickly because the most anticipated album of this artist’s career. Unfortunately, I don't think too many fans will feel it lived up to their expectations....

Those that know of Falkenbach know he/they specialize in mid-tempo, epic folk metal ala the previously mentioned, Bathory. If you were looking for the extreme or the heavy, it'd be best if you looked elsewhere. Falkenbach's brand of folk is reliant on the sounds of nature, ancient melody, and acoustics to transport the listener to another time, perhaps for some another place. Look to Falkenbach for escape from the rat race, the city, paved roads, and landscaped lawns. But if this is to be your first helping of Falkenbach, perhaps look to his earlier releases then come back to this, the more lack-luster Tiurida

Tiurida starts off with a brief intro track that neither adds too nor takes away from the album as a whole. Immediately following, and perhaps with out you even realizing, it transitions into the song Where His Ravens Fly... Fans will, without a doubt, recognize this off the bat as a Falkenbach album and old memories will flood back into their conciseness.

Formula is key. But formula might have sealed this album's sarcophagus because while it sounds unequivocally like a Falkenbach record, it falls just short in the 'catchy' department. Fans will know what I mean, while some of Tümmers earlier releases have hooks that sink their teeth into you and don't let go, this album simply comes and goes, perhaps a little too briefly, without as many stand-out moments. Songs like the aforementioned Where His Ravens Fly..., Tanfana, and In Flames are for me the high points on this album but, had this been my first Falkenbach record it may have eventually moved to the place where my CDs go to die to make room for something else.

That being said, a subpar Falkenback record is still better than twenty of the greatest 'cut-in-the-mold' albums from any one of the myriad of bands that seem to dominate the folk metal scene these days. I still own this record, and I'll still come back to it from time to time though I'll probably opt for ...Magni Blandinn Ok Megintirl... or records of it's ilk if I want to enjoy Falkenbach as anything more than background music.

(Originally written for www.metalcallout.com/heavy-metal-reviews/review-falkenbach-tiurida.html)

Falkenbach - Tiurida - 70%
ThrashManiacAYD, February 7th, 2011
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The last half-decade since Falkenbach exhibited any sign of life has seen the musical world surrounding this reclusive entity change significantly, a fact not entirely irrelevant given the prominent position in which this bands name is held in Viking/folk metal circles. Enigmatic, individualistic, perhaps even stubborn is composer and he who is Falkenbach, Vratyas Vakyas (though for some years now most instruments have been handled other 'members') whose no live performance policy and apparent disinterest in listening to metal music (if interviews I read with him are anything to go by) instantly set Falkenbach on a different footing to the Viking/folk scene that has grown around them since formation in 1989.

Falkenbach's sound has always lain considerably more towards the epic, mid-paced Bathory "Hammerheart"/"Twilight of the Gods" feel than what is commonly known as folk metal these days (a strong reason why an Alestorm fanbase will bear little crossover to those following these guys), which in their current twee guise positions them low down on any scale of musical 'heaviness'. As such "Tiurida" trots along in it the inimitably recognisable and enjoyable style that could not possibly be another artist, yet trotting along a little too serenely is my overall consensus, especially when put aside 2005's quite startlingly good "Heralding - The Fireblade". The likes of "Tanfana" and "Runes Shall You Know" are laden with the kind of catchy hooks and rhythms that have allowed Týr to rise so far in the time it has taken Falkenbach to release this album no. 5, Vakyas and co knowing full well if a formula ain't broke don't bloody well fix it and sticking to this principle look your fair-weather folk metal fan does to his plastic sword.

Thus it is not that Falkenbach haven't progressed musically which causes me to mark "Tiurida" down, but that we here don't have that pulsating energy and fiery burst more commonly found on the band's earlier works. Vakyas' protestations of listening solely to the likes of Wagner is most apparent indirectly through his Bathory-isms rather than any form of symphonic, bombastic Teutonic greatness; a feeling of residing too greatly in the comfort zone which permeates throughout. Having said all of this, yours truly already possesses the golden gatefold vinyl version of "Tiurida", proudly purchased despite being given a free legal mp3 copy to review. Some bands are just worth that extra effort…

Originally written for www.Rockfreaks.net

The Viking Ship Vratyas pulls in again! - 92%
Draedyn, February 4th, 2011
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It’s been a long six years for Vratyas’ fans and even longer since a complete sounding album was pressed under the name of Falkenbach, but this years offering comes darned close. Tiurida doesn’t precisely pick up right where Heralding – The Fireblade left off and that is a good thing. It instead goes back a bit further to Ok Nefna Tysvar Ty and finally seems to unite all of those new directions that Vratyas had developed for Falkenbach throughout those years.

Tiurida has a measure of everything in it to please every faction of Falkenbach’s fanbase. “Time Between Dog and Wolf” and “In Flames” bring a measure of ferocity back to Falkenbach’s sound and gives something new for the black/viking metallers to enjoy alongside their old Falkenbach favourites; with the aid of the Vindsval members shows well in these tracks. Although I would not say that it’s the riffs that are providing this ferocity, as they are very much long, drawn out “Falkenbachesque” rhythms and melodies, the drums and singing are what stands out here. The drummer seamlessly pounds under the guitars, utilizing his double kick as more of an accent to where he feels the music needs it versus simply jogging along to the whole track. The singer, although sounding moderately slurred at first, sings akin to a man who wants to provide anger behind the lyrics. He sounds almost as if he was half yelling whilst growling out the words and had to be volume adjusted so he didn’t take up too much spotlight.

For the fans of the more epic, Falkenbach brings forth “Runes Shall You Know” and “Where His Ravens Fly…” These tracks really shine through on this album and deserve to be listed amongst the best of Falkenbach. They are gems to listen to and the lyrics really fold you into the fantastic worlds and lands that Vratyas paints with such songs – past company being, for example, “Into The Ardent Awaited Land” or “The Heathenish Foray”. The choral style singing works extremely well in these songs and provides a resonance behind the lyrics that causes their words to stick with the listener. Vratyas has clearly worked on his singing over the years as his presentation rises above the other members of his small choir, even though it sounds like he tried to keep it even, and the fantastic singing that marked “Havamal” (from Ok Nefna…) as one of Vratyas’ best new musical directions once again shows here. See “Runes Shall You Know”.

The last three tracks to mention “Sunnavend”, “Tanfana” and the rerecorded “Asaland” can best be summed up as the reasons why this album isn’t a 100% effort, as they are all tracks that sound incomplete. “Tanfana” is a great sounding song with excellent music that deserves of some lyrical direction, but for whatever reason received none and its replay value compared to the other songs will suffer for that fact. This song easily could have been another “Time Between Dog and Wolf” or “In Flames” and would have provided a nice dichotomy on this album between the epic and the fierce!
“Sunnavend” has some quickly sung lines in it that sort of stave off the instrumental moniker and though this track could have duelled with “As Long As Winds Will Blow” considering its penchant for acoustic guitars, but it falls short sadly due to the lack of extended lyrics and will more than likely get the same treatment as “Tanfana”. As for “Asaland”, well, this song seems simply like a bad attempt at bringing back the instrumental excellence that was “Baldurs Tod”. It does however succeed in taking a horrendous demo recording and transform it into a properly arranged song. Hell, it might even grow on me.

Overall, this album comes very close to sounding as complete as the first two offerings and gives those past Falkenbach masterpieces a good run for their money. Though it falls short at providing a perfect dichotomy due to some unfinished sounding songs this is a definite step in the right direction for Falkenbach.

Falkenbach set his bar too high. - 95%
Kneurosis, January 29th, 2011
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Let me preface this by saying that Falkenbach is one of the best in the business. A mediocre album by him beats the shit outta almost any album by any pagan metal band out there.

My wife's probably about ready to smash the stereo and strangle me with the speaker wires cos I've played this album about 15 times in the past 24 hours. I just got it and I've been waiting years for it to come out, so she can deal.

I can't complain. This is a good album. For those who are familiar with pagan/viking metal, you know that every song has to open with sounds of the ocean (foghorns, breaking waves, creaking docks, seagulls, etc.) or with sounds of a faerie-populated forest (tweeting birds, rustling leaves, and shit like that). For those of you familiar with Falkenbach, you know that he's always opted for the former. This album is no different.

And that's my complaint: He's ripping himself off. He's produced some amazing music in the past, and now he's slightly altered some of his best tunes. Like many geniuses before him, he appears to have ran out of ideas. At least he's stealing from his own good ideas.

The album opens with an intro that sounds all too similar to the opening song of “Ok Nefna Tysvar Ty”. More viking foghorns. Blah blah blah.

It bleeds into “Where His Ravens Fly”, one of my favorite songs on the album. Clean vocals and an interesting melody only Falkenbach would create, but not altogether dissimilar to “Havamail” on “Heralding the Fireblade”. Still, the melody is catchy and unique, repetitive and to put it bluntly, addictive.

The sixth track, “In Flames” is another of my favorites on this cd. Again though, it doesn't take much imagination to compare it to “Where Blood Will Soon Be Shed” from the album “Magni Blandinn Ok Megintiri”. The rhythm is the same, the melody is just a bit different.

All in all, “Tiurida” is a good album and the obvious next step from his previous release. If this is as far as Falkenbach can take his creativity in music, he can keep pumping out albums and I'll keep buying them. He's done so well that it's difficult to see how he could improve. But if you're looking for something different than “Heralding the Fireblade”, you should probably listen to a different band.

Thule in view - 85%
Felix 1666, February 9th, 2019
Written based on this version: 2013, 2CD, Prophecy Productions (Limited edition, Digibook)
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Three letters stand for the rebirth of the "true" Falkenbach. "Asa". After some pretty mellow outputs, I thought that Markus Tümmers would not be able anymore to return to a harsher approach, but he surprised me in a very pleasant way. This does not mean that this album with its perfect artwork, another great picture of Albert Bierstadt, does not house silent tones. Nonetheless, they do not prevail, even though one of the absolute highlights of this work belongs to the most meditative tracks the dude from Düsseldorf has ever written. The more or less spiritual "Eweroun" is like a long and silent river, but its immaculate melody makes it to something great and the calming yet powerful vocals deliver the cherry on the top. All these cautious tracks from the last three albums suddenly make sense if we understand them as a necessary exercise in order to create finally this mantra-like masterpiece which is the perfect invitation to sit down and relax. Just listen, enjoy the flawless production of "Asa" and let your thoughts flow freely.

A handful of tracks reflect the predatory side of Falkenbach. "Wulfarweijd", "Bronzen Embrace" or "I Nattens Stilta" make clear that Tümmers has rediscovered his will to shatter the silence every now and then. Not to mention the furious "Stikke Wound" which presses the artist's rage in a hefty eruption of less than three minutes. These songs illustrate that there is still a fiery core in Falkenbach, while I had been in fear that he just stores the ashes instead of keeping the fire burning. Needless to say that there are also some very typical songs which combine excessive melody lines with clear, announcing vocals. These tunes show up like the mighty mountains on the artwork which appear out of the mist. No doubt, the lone wolf combines his tried and tested trademarks with stormy outbursts and the result is absolutely convincing. A mostly solemn yet occasionally nearly cruel atmosphere dominates the sound and it feels good that the modern skald is willing to offer his complete portfolio again after some years of voluntary self-limitation. He never released a really weak album, but it is simply great to hear his cocktail of robust guitar chords, almost mystical keyboard lines and raw vocals. The mix is what matters and unlike its predecessors, "Asa" finds the right balance.

Maybe (or certainly?) I am a picky old geezer, but I will never understand the way of thinking of some people. Why wasn't it possible to press the thirteen tracks of the 2CD-version on one disc? Who felt the need to seduce the fans to buy a luxury version? Of course, we all know the stale "excuse" of the industry: nobody is forced to buy an album, we just make an offer. But come on, that's ridiculous in view of the well known mindset of a loyal metalhead. Be that as it may, the four tracks of the second disc achieve the same quality level as the regular tracks and they also do not follow another stylish approach. Okay, don't be fooled by the title of "Return to Ultima Thule". It is not part two of "Ultima Thule" from the debut, but a strong alternative version of this track. The recycled composition shows once again the glory of the early days of the band due to its strict and compelling pattern. Yet the remaining material of the second disc is completely new and with that said, it goes without saying that the second disc enriches the entire output sustainably. This even applies to the calm closer, an instrumental which reminds me of the rather peaceful songs of In Extremo (but without bolshy bagpipes). In a nutshell, this edition of "Asa" delivers the soundtrack for the next midsummer festival in Thule. Enjoy the very strong hour of pagan / black metal while avoiding any kind of fillers. Hopefully, Tümmers returns soon with an equally strong successor.

Finally another great Falkenbach album - 90%
mjollnir, March 21st, 2014
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I've been a huge fan of Falkenbach since first hearing their 2003 opus, Ok Nefna Tysvar Ty when it was released. To me, that album was an album that defined a genre, being heavy but seriously melodic I instantly became a fan. I immediately acquired the remainder of what was their discography up to that time. I have since picked up all subsequent releases as well. Heralding - The Fireblade was good but not as good as their previous releases and Tiurida slipped even more. They were not bad albums in any way as I believe that Vratyas Vakyas in incapable of releasing anything that's truly bad. These albums just did not live up to the band's former glory.

In April of 2013 we were given a teaser of the new album in the single titled "Eweroun". I knew at that point we were in for something special from Vratyas Vakyas and his hired guns. On November 1, 2013 Asa was unleashed upon the world (a day before my birthday so happy birthday to me!) and to my wondrous ears it appeared that the Falkenbach I knew and loved were back. All was right with the world. The album kicks off with "Vaer Stjernar Vaerdan" which is your typical Falkenbach song with flowing melodies and acoustic and electric guitars playing together. This album already reminded me of Ok Nefna Tysvar Ty in the way it sounded. The song had Vratyas singing his hypnotic clean vocals in a language that I'm not quite sure of but appears to be an extinct Germanic language. There's even some lead guitar there adding melody and atmosphere to the song.

Then to my surprise the second track, "Wulfarweijd", kicks in and this is an ass kicker from start to finish. It's speedy with double bass and Vratyas doing harsh vocals throughout taking me even further back into this band's discography. This was a welcoming sign because I thought that maybe Vratyas was running out of new ideas. However, this album seemed like he had finally found his niche and was able to combine the aggressiveness of his earlier releases with the melodies of Ok Nefna Tysvar Ty. I was right because this album is the combination of everything that is Falkenbach...aggression, melody and his odes to the Gods of old! Songs like "Mijn Laezt Wourd", "Eweroun", and "Ufirstanan Folk" are your melodic Falkenbach songs with the acoustic guitars just slightly back in the mix over the electrics and Vratyas' clean vocals singing just making beautiful music.

Then you have songs like "Bronzen Embrace" (the only song sung in English), and "I Nattens Stilta" being your more aggressive songs. The songs are catchy and melodic even though they are faster and Vratyas uses only his harsh vocals on these songs. His harsh vocals are really good too as not to overpower the music or sound like he's trying to hard to be grim. Once again, the musicianship on these songs is really good and the songs are catchy as well. There's even "Bluot Fuër Bluot" that combines the two styles that takes me back to ...En Their Medh Riki Fara...

This album takes everything that makes Falkenbach what it is and molds it together to make this the best release from Falkenbach in over a decade. I thoroughly enjoy this album and gets played regularly. I do love this type of folk metal and no one does it better than this band. If you were a fan of this band but were not impressed with their last two releases then get this....you won't be disappointed.

http://elitistmetalhead.blogspot.com/

Asa - 50%
Buarainech, January 31st, 2014
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In spite of being able to lay claim to being a well distinguished and unique act in the world of Metal the career trajectory of Falkenbach's Vratyas Vakyas is a pretty well trodden one. Having begun recording music in 1989 as a solo Folk act, Falkenbach appeared as the dawn of the second wave of Black Metal began to creep over the horizon and delivered their pioneering debut in 1996 when the experimental end of the genre really broke, being one of the first to colour the genre with Folk elements. ...Magni Blandinn Ok Megintiri... followed 2 years later with Black Metal side of the coin now taking a back seat to the Folk whimsy and the epic Bathory-style compositions, before that process was further and refined on Ok Nefna Tysvar Ty 5 years later.

Then at a crossroads Falkenbach took the interesting decision with 2005's Heralding- The Fireblade to release a “back to the roots album” based around reworked versions of tracks written before the debut, a choice that bought time for Vakyas to either find a way to expand beyond the style he pioneered or to better those early efforts. Even with the benefit of a 6 year gap he failed to do either on 2011's Tiurida, but being in much the same position that the very stylistically similar Summoning are this year he largely got a by from his fans by virtue of how long they had been waiting for new material. Now in 2013 though he has run out of “get out of jail free”cards. It is put up or shut up time for Falkenbach's maestro to either prove himself worthy of the musical genius acclaim he attracts, or to prove himself as a one trick pony.

Before we can even talk about the music though that fantastic cover artwork needs to be mentioned as not only is it easily the best that has ever graced a Falkenbach sleeve, but also comparing the CD booklet and LP versions side by side they seem to be paintings of the same mountain lake from opposite sides. It's a genius little touch- typically Falkenbach, but going that little bit extra to create something special. On to the music though and it too is typically Falkenbach, though often painfully so. It is a worrying start that the previous album called most to mind by opener “Vaer Stjernar Vaerdan” is Heralding- The Fireblade due to how disinterested Vakyas seems to be with his clean vocals, ruining what could have been a decent mournful vibe on “Mijn Laezt Wourd” in the process. There is little better to be said about most of the more up-tempo tracks either as what both “Wulfarweijd” and “I Nattens Stilta” have in common is a structural simplicity that borders on the mind-numbing- Repeat main riff and drum pattern for 32 bars, vary slightly for 8 bars, repeat several times, 5-10 second quiet interlude, repeat until end. The only think to shake up this songwriting autopilot is “Bluot Fuër Bluot” where an attempt is at least made to bring together the whimsical Folk Rock and icy Melodic Black Metal styles that are bounced between here, but once again the same songwriting snoozefest prevails.

It is not like this is new for Falkenbach as in spite of their epic stature and leanings it has always been a project typified by short albums and mostly short songs. The fact is though that now 15 years on from when Falkenbach's style is far from being novel and so many of the bands were born from that influence have surpassed the teacher in every songwriting and album construction facet possible that this level of simplicity and naivety from a veteran band is almost intolerable. It is a sad fact that when more than ever Vakyas needed to pull out something special and monumental after the disappointment that was Tiurida the response seems to be to make something with even shorter and more basic songs and performed with even less passion and fire.

It is not all terrible though and around the middle of this album it even threatens to make a glorious comeback. “Brozen Embrace” is the first blast of icy Black Metal on this album and to be frank, Falkenbach have perhaps never done it better than this. Aside from the drum sound which lacks that savage, cavernous feel the riffs on this track could easily have come from albums like Satyricon's Dark Medieval Times or Gehenna's First Spell. It is followed up with a Fejd/Stille Volk-style masterclass in dainty pastoral Folk Rock with a strong Pop sensibility, but if the centre of the album leads the charge for the best moments, the worst is truly saved for last with the turgid double-whammy of the boring Melo-Deth filler “Stikke Wound” and the sleep-inducing acoustic finish “Ufirstanan Folk.” Over the years Falkenbach's meteoric decline has been partly due to worsening albums, and partly due to what made them stand out in the first place become more and more passé. With both of those processes now so advanced this album feels like it may be the final nail in the coffin for the Falkenbach myth and legacy. [5/10]

From WAR ON ALL FRONTS A.D. 2013 zine- www.facebook.com/waronallfronts