Genre: Neofolk

01 Wintermärchen
02 Lied am Feuer
03 Verlorenes Heer
04 Feuerkreis
05 Totenburg
06 Nibelungenland
07 Roggenfelder
08 Ostenfeld
09 Weltenstürme
10 Winterrune

'Notwendfeuer' is Darkwood's fifth full studio album, and as such it follows their first trilogy of albums ('In the Fields', 'Heimat & Jugend', and 'Flammende Welt', all dedicated to different aspects of the two world wars of the 20th century), and the subsequent 'Herbstgewölk' (dedicated to the dark science of the atomic arms race). As one of the higher quality Neofolk acts of the current scene they really should require little introduction, but for those less familiar with them, Darkwood's career has included multiple compilation appearances for labels such as World Serpent, Old Europa Cafe, and Eis Und Licht (as well as the 'Secret Lords' CD on the band's own HeidenVolk imprint), along with a full live CD 'The Final Hour'), a limited selection of vinyls, and the collaborative CD 'Lapis' with Chaos as Shelter (dedicated to the medieval practice of Alchemy).

Formed in the late 1990's by sole member Henryk Vogel to express a personal love for his homeland, and for his own historical and psychological reflections on the forgotten beauty of tradition and nature, Darkwood have their own label (since the project's initial conception) in the form of Heidenvolk, which was formed to ensure strict control over all aspects of production, art and layout and thus a more accurate representation of Henryk's personal creative expression. With 'Notwendfeuer' the album's theme is that of the struggle of honourable youth, 'a work dedicated to Youth and Fire', and this is reflected in the digipack's apt artwork - the front cover bears a haunting close portrait photo of an earnest looking Hitler Youth, while the back cover bears an image of non-distinct armed figures emerging from the mists of a battlefield, leaving no doubt as to Darkwood's sympathies and sensibilities, and promising much in thought-provoking challenging content. Literary works by German writers such as Otto Ernst, Georg Trakl, Adolf Bartels and Karl Bröger are also used or alluded to, and on this release the multi-talented Henryk is also joined by friends Nadja (violincello), Chihiro (trumpet), Manuella (accordion and backing vocals), and Valentin (violin). The album is described as '10 tracks dedicated to Youth & Fire... the perfect soundtrack for Winter Solstice. They shall evoke the burning need for a great change, forcing hands into hands', and this time features all lyrics and vocals in German in support of the Teutonic inspirations contained within.

Otto Ernst's 'Wintermärchen' poem provides the lyrical basis for the opening track, ushered in by a brief tinkling of percussion, before the softly finger-picked acoustic guitar and Henryk's soothing tones combine in entrancing fashion. Further violincello lines soon join the piece, adding an overtone of pathos and loss to the 'Winter Fairytale' that suitably balances the fast picking, after which subtle additional strumming increases the urgency and impact of the song, conjuring images of frozen breath on a winter's day as all around snows blanket the earth. A final fade and muted ending of more tinkling bells then eases the listener into 'Lied am Feuer' ('Song at the Fire'), where both tempo and mood are lifted by a more energising quickened strumming of the guitar, and Manuella's feminine vocals join the music for the first time, adding depth and further emotion to the chorus sections. The track's title and 'Notwendfeuer's previously mentioned theme combine with the performance to create the impression of excited youths sat around a campfire, dreaming of a future of glory and honour in service to their homeland. The addition of accordion gives an increased continental European authenticity and a dreamlike sense of longing, while a gloriously soaring instrumental ending of interplay between the individual instruments sweeps proceedings along to a fitting daydreaming conclusion.

'Verlorenes Heer' ('Lost Army') continues with more sliding enlivening strumming and brief snatches of appropriate rapid-fire militaristic snares, in keeping with the song's theme. Once again the sorrowful bowed strings add an aching longing as of soldiers far from home both physically and emotionally, creating fitting tribute to the sacrifice of troops once unaware of where their youthful idealism would lead them. This involving song flies rapidly by, quickly moving the album into 'Feuerkreis' ('Fire circle'), that is lyrically based upon the poem 'Trompetens' by Georg Traki. Sombre trumpet lines from Chihiro evoke instant comparisons to Sol Invictus, but the softly spoken vocal underpinned by soft chanting gives it a sorrowful character all of it's own. Delicate lead acoustic guitar lines also dance effortlessly between the musical spaces, giving impressions of a slow rapturous dancing and swaying as if enraptured and transported by gazing into the hypnotic flames of a dying fire into winsome thoughts of imminent struggle.

A return to a more sedately paced finger-picked guitar style then begins 'Totenburg' ('Dead Castle'), with it's gloomy atmosphere of deserted strongholds and discarded ideologies. Sparse percussive bodhran strikes punctuate throughout, bringing a funereal restraint when combined with the simplistic violincello melodies, as of a final eulogy at the passing of a beloved companion. It seems the castle, once a stronghold of passions and strength, passes into the dirt along with its former inhabitants, to finally become a mere ruined tombstone to glories long past. Adolf Bartels then provides the lyrics for the next song courtesy of his piece 'Nibelungenland', presumably dedicated to the mythological Germanic past of legend as later appropriated by Richard Wagner and the Volkisch revivalists. Further guitar, soft echoed vocals and more occasional bodhran flourishes are subtly backed by soothing keyboard strings to create a mist-enshrouded air of mystery and fascination with the hidden past of a people and their symbology, both compelling and ancient. 'Roggenfelder' ('Rye Fields') then sees the return of more beautiful backing vocals from Manuella, and extra power is gained from the use of a distorted electric bass to drive the song along. Additional piano and accordion suit the rural thematics well, mirroring the ryhthmical labours of toiling workers upon the soil of their ancestors, and the measured drumming continues to set the pace for the day's tasks as imagery of wind-bleached rosy faces are conjured in the mind's eye.

Leading us into the final few songs of 'Notwendfeuer' comes 'Ostenfeld' ('East Field'), presumably dedicated to the struggles for living space for the German people along the eastern edges of their empire in the early decades of the twentieth century (a matter of great political and social importance at the time). Both earnest and uptempo, the addition of occasional electric guitar chords strengthens the duelling twin acoustics with a sense of urgency and struggle, while the bowed strings sit almost imperceptibly in the background, thus allowing Henryk's impassioned delivery to work it's undeniable magic. Next, comparisons to Dies Natalis are brought to mind by the carefully constructed chords and twin male and female vocalisations of 'Weltenstürme'. Translated to 'World Storms', reflections upon the upheavals of the middle of the last century past are conjured by fragile acoustic lead phrases, gentle flute, and the sublimely controlled violincello playing of Manuella. Woe and loss, war and destruction, and the death of long held traditions are all effortlessly summoned by the expert composition, and you can almost visualise the past marching with a tired hung head into the twilight of dusk to make room for the coming insanity of the following times. It is all too soon then that the final song is reached in the shape of 'Winterrune', a fitting symbolic ending to a marvellous album. As the ideals of the past lie dying in the cold unforgiving snows of modernity, the symbols of better times lay partially obscured from the sight of the unworthy, and the proud singing of Mr. Vogel seeks ways of moving forward, delivered over rapid contemptuous guitars. One last appearance of trumpet phrases fittingly summons a suitable sense of pathos once more, yet defiance sets the overriding final impression as the last strummed chord fades into the silence of history.

'Notwendfeuer' must certainly be one of Darkwood's finest releases to date, a faultless exposition of classic Neofolk any devotee would be proud to own. Henryk has surrounded himself with the perfect mix of collaborators required to bring his deeply personal music to life, and although aspects of the instumentation display an obvious debt to other stand-out artists of the genre, this intense personal commitment to his views and beliefs shines as a beacon through the darkness. The impact of this latest album also doesn't suffer from the reduction of obvious martial elements as compared to previous works, which is surely a complimentary reflection upon the honing of Henryk's songwriting skills. From the outset 'Notwendfeuer' envelops the listener completely with Darkwood's creative vision of the vibrant fire and naive energy of a mobilised and willing youthful vitality, while still presenting the less glamorous 'other side of the coin' in the form of the losses and sorrow that can inevitably arise from it. This is probably the finest representation of a Neofolk artist at the height of their powers that I've heard in quite a while (Changes' 'A Ripple In Time' probably being the only other recent example that instantly springs to mind), and as such, that makes 'Notwendfeuer' receive my highest recommendation. A beautifully realised work of art that deserves to be in every self-respecting folk-noir afficianado's collection. Absolutely outstanding.