The first month of the year is always interesting for music. Sometimes a big release will drop, but many times, it’s the realm of hidden gems and underrated artists. I would place Jonathan Hultén among that number. His new solo record Eyes of the Living Night is set to release on January 31st.
Jonathan was the guitarist for metal band Tribulation, but his solo side is quite different. He is an artist through and through, devoted to the look, production, cover art, and feeling of the whole affair. And because of this, even though his solo work is more reserved, it still feels adventurous and thrilling.
The music here is basically ambient folk, though I think post-prog could be another valid label. It is floating and mysterious with plenty of vocal harmonies, gorgeous keys, and even some electric guitar accents. While there are some tracks with percussion and an energetic gait, much of the record centers upon Jonathan’s misty vocals and acoustic magic. The overall tone is one of distant wasteland ballads, if you know what I mean. You’ll even hear some harmonica.
To begin with, Eyes of the Living Night is only about 33 minutes long, and I think that shorter runtime works really well for this style of music. The album streams by with shadows and stars, and before you even realize it, the journey has ended. But then you feel like jumping right back into it.
I love the whole album, and I do feel like it is a step up from 2020’s Chants From Another Place. For my money, though, the second half of the record is the best part. The first half has some terrific tracks, though. I really like the opener “The Saga and the Storm” with its hazy sandstorm of harmonies and electric guitar notes. It feels almost like a rock song without drums. The next three are the singles, “Afterlife”, “Falling Mirages”, and “Riverflame”. They are all whimsical and ponderous in tone. I think my favorite of the three is “Riverflame” with its mourning, downtempo melody.
When the album hits “The Dream Was the Cure”, it flows through four tracks that feel like one to me, and that’s my favorite part of the record. “The Dream Was the Cure” has such a great contrast between baritone and bass vocals that Jonathan performs, and I just like the energy and light in it. “Song of Transience” comes next and is deeply whimsical, almost like a fairytale in how it slowly dances and plays. “Through the Fog, Into the Sky” follows and is a vibrant, beautiful piano piece that I could listen to again and again. “Dawn” ends this section with quiet cinema and hovering ambience.
The final four tracks are great, too. “Vast Tapestry” has something of a Western wasteland kind of rhythm; I think it’s my least favorite overall, but I still enjoy it. “The Ocean’s Arms” makes up for it, though, with its cinematic, vast sound; I find it very catchy. “Path is Found” is an instrumental piece with guitar and violin, and it could have been a good outro, I think. It feels like an announcement of the end of the journey, which “Starbather” then delivers. This closer might end up being my favorite on the album some day; I love the gracious piano rhythm, the hopeful lyrics, and the climax full of drums and heart.
Jonathan Hultén has created something that remains true to the original vision for his solo works, but bleeds the edges to include some other tones and sounds. I think Eyes of the Night is a calming and gentle record that is best heard by candlelight with a good cup of tea. It feels like relaxation and healing, with hints of darkness and shadow. I feel like I’ll be revisiting it quite a bit.
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Find Jonathan Hultén online:
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The PROG Mind 
Jonathan never was the singer of Tribulation. He was the guitarist and songwriter but never singer. He is no longer with the band.
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