As soon as I heard the opening track on Eivør’s new album, I knew this record was for me. I’ve heard her past albums, and liked them well enough, but Enn is truly something different and hypnotic in her discography. The album released on June 14th.
Eivør comes to us from the Faroe Islands, a territory of Denmark. The scenery, judging from the images, is one of darkly beautiful landscapes, towering cliffs kissing the sea, and rocky hills covered in green. For some reason, that seems appropriate for this album. The lineup here is Eivør on vocals and guitars, Mattias Kapnas on piano and synth, Mikael Blak on bass, synth, and guitar, and Per I Højgaard Petersen on drums and soundscaping. There is also a string quartet named Lýra and a choir.
How to describe this album? Eivør plays music that blends folk and electronic on a base of dream pop. However, that doesn’t describe this album. No, this record is more ambient, more spacious, and far more textured than her typical style. This album is more about haunting vocal atmospheres, hovering colors, and endless musical space.
The music is primarily driven by piano or synth, in addition to vocals. I wouldn’t call it New Age, but it’s certainly bordering on that genre, only with more operatic and choir vocals. I’ll readily admit that Eivør reminds me of Lisa Gerrard on this record, which is a really good thing in my book. At times, Enn almost feels like a soundtrack to a dreamy and psychedelic film.
As soon as I heard “Ein Klóta”, I was hooked. This piece combines steady piano with a soaring and sacred vocal style that is honestly transfixing. It reminds me of Enya. “Jarðartrá” is equally as good, though, with its dark and subtle electronic sound, and its slow crawl to a vivid and beautiful climax which features yet another layer of haunting vocals. “Hugsi Bert Um Teg” continues with a brighter, more pop-friendly piece with memorable synth lines.
Those three are my favorites, besides the closer. Other favorites are the title track, which is the longest piece and features a burning electronic soundscape; and “Upp Úr Øskuni”, a completely unique piece on the album with its ritualistic beat and raspy, dark vocals. I love that one so much. The closer “Gaia” is absolutely gorgeous in how it floats with melody and joy and wonder; it almost sounds like something you’d hear in Rivendell. It is truly a beautiful ending, one that I always look forward to hearing.
I understand that this Eivør album will not be for everyone. However, if you appreciate organic nuance and divine vocals, Enn will speak to you. It is a remarkable album, one that embraces fully the splendor and subtlety that dance within its aura.
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