Of The Wand and the Moon - Sonnenheim

Following the reissue of Midnight Will and the experimental reading of Hail Hail Hail, Of The Wand and the Moon return with their much anticipated third album. Sonnenheim is Of The Wand and the Moon's most fully realised release yet housed in a white sleeve rendered with runic and pagan imagery with gold leaf trimmings. It's a pure distillation of the ideas and influences that guide Kim Larsen as Of The Wand and the Moon . These ideas predominately revolve around the Northern Mysteries and the runes, wrapped in low-key melodies. Of The Wand and the Moon are among the most accomplished propopents of the neo-folk genre, clearly influenced by the works of Death In June and in particular the seminal releases But, What Ends When The Symbols Shatter? and Rose Clouds of Holocaust. And that is the crux of the problem with Of The Wand and the Moon. Larsen has harnessed his heathen beliefs in simple but effective melodies performed on acoustic guitar (naturally), soft atmospheric keyboards and spartan percussion that sound so similar to the aforementioned Death In June albums. Larsen has even enlisted Andreas Ritter (of Forseti) on accordion, a musician who performed said instrument on Death In June's All Pigs Must Die!.

'Nightime In Sonnenheim' is a lilting folk jaunt about wine, feast and kinship. 'Summer Solstice' pays respect to the midsummer festival in a sprightly fashion. 'My Black Faith' with its trumpet score and crashing cymbals is full of resigned melancholy. 'Hollow Upon Hollow' bemoans the loss of spirituality, while 'Like Wolves' preaches caution. Larsen's compositions are accessible and familiar and are executed in a beguiling style others could only wish for. But where is the individuality? Where is the originality? Throughout Sonnenhiem Larsen's pensive delivery, even when whispered, echoes Douglas P.s and the lyrics touch upon all the cliches of the genre: warrior ethic ("law of the claw"), mithras ("unconquered sun"), emptiness, honour, runes, kinship... Only on 'Camouflage', 'Lieblos Hin Zur Dunkelheit' and 'I Shall Feast' do Of The Wand and the Moon break the mould. The tumultuous drumming and accordion drone of 'Camouflage', and the reverberating guitar and majestic keyboards in the ominous sounding 'I Shall Feast' deviate from the neo-folk template.

If you're looking for a cut-price Death In June then seek this out, as it will be immediately familiar, but you really need to question why Of The Wand and the Moon are gaining such a lauded position in neo-folk circles. It appears neo-folk is the new conservative musical form. I'd much rather have others tentatively associated with the genre such as Allerseelen, Werkraum, Changes, In Gowan Ring, Waldteufel commanding greater interest with their invigorating and fresh releases. Better still, seek out the original works of Death In June as Of The Wand and the Moon are capable of offering devotion but, I'm afraid, it's all rather hollow. For more information go to www.ofthewandandthemoon.dk or www.tesco-germany.com