Midnattsol
Where Twilight Dwells

Finally, a voice that breaks the mold... and let me be struck! To know that the band where Carmen Elise Espenaes is a member is even more inspired than that of her sister (Liv Kristine, certainly not a beginner) is almost unbelievable. But reality is sometimes disarming; in 2005 Midnattsol emerged from anonymity with an album quite atypical for the gothic metal world, their debut record for Napalm Records entitled "Where twilight dwells".

Be aware, however, that it is not the singer who is the real surprise within this German band; indeed, it must be said that Carmen has a tone quite similar to her sister's but, although she is able to modulate the melodies of the songs in a sufficiently personal way, she still needs true grooming (though I am sure that time will bring her great satisfaction). What truly amazes is the ability of the band to play within overused structures like those of gothic metal with female vocals, playing somewhat as if Leaves' Eyes stripped their music of all those frills that sometimes make their albums overly pompous and manneristic. No abundance of keyboards, then, but many beautiful folk melodies (do not expect, however, drunken and village party atmospheres in the manner of Korpiklaani); no cutting-edge syncope riffs like Within Temptation, but many beautiful distorted chords with a hint of extreme metal.

This is Midnattsol: an unstoppable force that sweeps through with its fierce guitar charge, merging with the sweetness of a distinctive voice, somewhere between that of a witch and a child (the usual guttural growl has been abolished, a courageous choice worthy of applause), powerful double bass rhythms, and subtle and never intrusive keyboard backgrounds. It is astonishing that the music of this band is firmly erected on guitars (rather strengthened compared to the standards of the genre) instead of keyboards, and that traditional or classical instruments are almost never used to embellish it all. Just an acoustic guitar is enough, and graceful folkloric episodes come to life among one metallic lashing and another, like a flower suddenly bursting through the thickest snow. As testified by the beautiful Nordic setting depicted on the cover, an aura of mysticism referencing Norse mythology permeates every single note of "Where twilight dwells", immersing each track in a cold and icy atmosphere, painting here and there, among the most successful episodes, also patches of pure melancholy.

The opener "Another return" calls for the wildest headbanging, thanks to a granite and scratchy rhythm that accompanies the low tones of Carmen's voice, plunging into the nocturnal and Nordic atmosphere recreated by the keyboards, rather overshadowed by the other instruments; but the following "Lament" is even more solid, fast, and engaging. For the background orchestrations, the most malevolent Battlelore are called into play, as well as cousins Leaves' Eyes for the beautiful melodic chorus. "Unpayable silence" is instead the first track that presents slowed rhythms and beautiful acoustic guitar arpeggios, on which the young singer is able to express herself at best, intoning folk litanies with a palpable melancholic mood, freeing herself also from the rather cumbersome comparisons of the previous tracks. In the second part, electric guitars intervene, and all the elements of Midnattsol's sound blend to create moments of pure magic. Such an excellent song hadn't been heard for a long time. "Haunted" presses the accelerator again, but it is clear by now that the band excels in slower tracks, with its intense Nordic ballads. The best indeed comes with "Tarefall" and the long "Tapt av hap" which resume the semi-acoustic discourse traced by the third track on the list. It is a real pity that in other episodes, the blend between the acoustic and electronic components did not give rise to equally heartfelt and moving melodies, despite all pieces being well structured and engaging (among all the more metallic episodes of the platter I feel compelled to recall the dark "Infinita fairytale"), demonstrating a style that lives on its own.

So we are not facing a masterpiece, but rather a more than welcome and much more than sufficient debut. "Where twilight dwells" is an album that perhaps doesn’t have the makings to go down in history, but it showcases uncommon class and deserves at least to be listened to by all those who love folk metal with gothic hues. It must also be said that amid so many older bands struck by sudden drops of inspiration or increasingly dominant commercial ambitions, noticing that there are still inspired and passionate musicians is really pleasant and gratifying for the listener. For this reason, Midnattsol is a reality to keep an eye on; who knows if in the future they won’t give us an even better work. As I see it, all the conditions are there.