Genre: Neofolk / Ritual Ambient / Experimental

“Rauhnacht” or “Rough Night” is the latest offering from Waldteufel or “Forest Spirit” who debuted on the neofolk music scene with the 7” “The Great Intoxication.” Waldteufel gained their footing in the neofolk music genre with the 2002 full length release “Heimliches Deutschland” which garnished high praise from fans who indulged in the Germanic folklore inspired songs. “Rauhnacht” is Waldteufel’s most recent release and it sees the band returning to their German heritage with an album dedicated to some of Germany’s more obscure Heathen and esoteric authors.

“Rauhnacht” contains four songs each of which is inspired by a separate German author. The authors noted on the album include Friedrich Hielscher, Hugo Kaeker, Leopold Weber, and Karl Wolfskehl. For those of us not thoroughly learned in German literature these names may not instantly inspire association or kinship but with a bit of scholastic investigation it is possible to learn more about these men and their contribution to German literature and culture. The common thread combining the four compositions is the unifying theme of the Wild Hunt / Twelve Nights heathen mythology and folklore as each of the songs reflects aspects and themes of this ancient mythical event. The Wild Hunt mythology as it pertains to “Rauhnacht” traces back to Teutonic Mythology which explains:

“At the root of the myth lies the Teutonic god Woden, or Odin, to use his Norse name. Odin, in his guise of wind-god, was thought to rushing through the skies astride his eight-legged steed, Sleipnir. As it was thought that the souls of the dead were wafted away on the winds of a storm, Odin became regarded as the leader of all disembodied spirits - the gatherer of the dead. Eventually, storms became associated with his passing. In this role he was known as the Wild Huntsman. The passage of his hunt, known as Odin's Hunt, the Wild Ride, the Raging Host or Asgardreia, was said to presage misfortune such as pestilence, death or war. Odin, followed by the ghosts of the dead, would roam the skies, accompanied by furious winds, lightning and thunder. To the believers, the tumult must surely have been evidence of the god's passing.”

The music on “Rauhnacht” defies listener’s expectations as Waldteufel trades the folk instrumentation that defined “Heimliches Deutschland” for a more experimental palate. The resulting music invokes dreamlike and passionate soundscapes that invoke subconscious impressions rather than a straight forward narrative. The album includes lyrics delivered by the bands leader Markus Wolff but for those of us who do not speak German the music remains the focal point.

“Rauhnacht” begins with the introductory composition tilted “Allerseelengebet” (Friedrich Hielscher) which was recorded for Waldteufel’s Wild Hunt concert / ritual in Portland Oregon last winter. “Allerseelengebet” begins with the scratchy static of a phonograph, male vocals shouted in German, and the precarious wine of hunting hounds. A simple neoclassical sample plays in the background romantically while hunting horns blast shrill and audacious blasts from within the music. The sound collage slowly progresses invoking the Wild Hunt in all its surreal otherworldliness. Near the middle of the composition the song settles upon traditional horn playing as the other sounds retreat and Markus Wolff recites German verse over the nostalgic horns. The horns play slowly and deliberately as if mourning past ages and forgotten beliefs. Markus’s recital is fairly straight forward with a bit of echo and effect added to his voice for emphasis.

“In den Zwolften (Hugo Kaeker)” is the second offering on “Rauhnacht” and it brings the listner back to a more recognizable Waldteufel. The track consists of Markus Wolf singing in German accompanied by subdued ritualistic drums and a solo flute. The flute leads the song musically while the drums adds a steady ritualistic rhythm that entrenches the listner in the sacral nature of the song. Markus’s familiar singing recalls his beautiful vocals on “Heimliches Deutschland” capturing once again a masculine sensitivity that invokes authenticity and confidence.

Track three titled “Hexe Hild” is possibly the furthest from past offerings as Waldteufel invites electric guitar into the music. Markus offers once sings again while savage electric guitar dominates the song accompanied by drums and accordion. The music is fevered and passionate as the guitar leads the introduction and most of the song. Markus’s vocals fluctuate between passionate passages and a recurring chorus. The accordion takes front stage briefly giving the song a folk infusion though the electric guitar quickly returns to dominate the composition once again. This is Waldteufel as few of us have heard them.

Ur-Odin (Karl Wolfskehl) is the fourth and final contribution and by far the most experimental song on the album. Ur-Odin (Karl Wolfskehl) begins with a collage of unusual percussive music concrete. Percussion is utilized to create a dizzying palate of sound defined by cycling patterns. Interestingly drums can not be heard in this track. The percussion is unidentifiable though much of it sounds as if it is played upon wood instruments. Samples of owls hooting and various snaps and squeaks of an organic nature garnish the track as well. The music imbues the listner in a confused state as sounds swirl all about you coming from all sides. Markus chants in a very low distant voice across the music as if heralding the coming of the Wild Hunt. After nearly seven minutes heavily distorted and echoed German lyrics emerge from within the music spoken with a slightly sinister tone. Marching snare drums and flute enter the fray near the end of this epic twelve minute song though without being able to translate Markus’s lyrics I felt as if much of the songs meaning was lost to the non-German speaker.

“Rauhnacht” is a very eclectic album as each song seems to tackle a separate musical style. As an English speaking listner I cannot help but feel left out in the winter cold by the strictly German lyrics. It is hard to know whether the album would sound more consistent or if more hidden elements of this work would become apparent if one were well versed in German. Though Waldteufel’s exclusive use of the German language shores up the bands traditional and Germanic identity it also excludes many listeners from fully understanding and tapping into the bands offerings. Though “Rauhnacht” can be enjoyed on its musical merits the full picture escapes those of us who do not speak German. The use of exclusive German lyrics seemed less detracting on the earlier album “Heimliches Deutschland” as neofolk fans were encouraged by the traditional instrumentation and beautiful melodies. If “Rauhnacht” was intended primarily for the German neofolk market it has definitely hit its mark. As for the rest of us we are left out in the cold for these twelve long nights of the Wild Hunt enjoying the music but left out of the dialogue.