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The Lord proclaims decrees to his subordinates

January 12, 2018
Alvenrad - Heer

Violin motifs De Hoogzit creates such a fascinating atmosphere, complemented by symphonic organ passages, anticipating the Alvenrad - Heer album, combining folklore motifs with epic art rock style keyboards and giving significant power to instrumental parts.
De Raven Wodans continues the album, it combines epic keyboards passages with pensive vocal phrases, supplementing them with rapid instrumental breaks, then completing them with enchanting changeable and vivid improvisations.
Organ solo in a thoughtful and symphonic case causes thoughtful and vague reflections Dagen Gaans Heen, which brightly and charmingly complements the keyboards notes. The free spirit of the 70s seems to returns in the chorus.
Confident drive waves De Zonne-Ever are crowned with sublime keyboards passages, as if the glittering knights carry bright unforgettable banners, then the squires honors their lords for their valor and invincibility.
The violent dance of Boom Des Gouds instrumental composition ends with a change of partners, carried away in a violent festival of bright, impetuous motives before the change is set by the instrumental passage. Then this motive subjugates all other instruments that follow him until the next rapid breakthrough, then again repeating these instrumental changes.
So gloomy piano passage creates mysterious foggy atmosphere of De Herder, culminating in vocal phrases and a thoughtful keyboard symphony, a little bit supplemented with guitars and vocals.
The Fallisch introduction reminds an army horn, awakening soldiers before the coming battles, then vocal reflections in a complex diverse rhythmic pattern approach the proud promises in the chorus. In the middle of the composition the regimental orchestra arranges a respite before the coming marches, returning to them in the subsequent chorus.
The Minneschemering main motive is led by an enigmatic round dance along the path that leads him only, the vocals follow along with the rest of the instruments along the beaten track.
The singing of birds precedes a soft guitar fingering that starts charming lyrical ballad De Groene Tempel, in which the honoring of the green temple, paying tribute to the elements and inhabitants of the natural kingdom, sounds leisurely and calmly. Then, in the ritual of worship, the priests offer their prayers to all elements, powerfully and emotionally seeking from them grace, but not disasters.
The sophisticated pensive saga Omheind slowly and discreetly develops its history, waving symphonic parties with folklore motifs, then sweeping the instrumental power, sparkling in a significant charm and captivating the impressive sound. Then the calm ballad comes back again.
The album ends with a remastered composition from the band's first album, Foreest In Tweelicht (2017), its intro sweeps the power and rage, unexpected for this genre, it seems now from the twilight forest ravages demons, because the evil undead. But the vocals complement the sound not with fury, but with emotional nervousness, crowned by bright keyboard passages. In the middle of the composition, the extreme vocals, expected after a violent drive into the introduction, perform the phrases by scrambling, but then anger and aggression subsides, completing the composition and album with wise reflections.