FORSETI “Windzeit” CD/Box (“Windzeit” LP, Live 10”, 7”, ”Jenzig CD), 2002 GOEART/GRUNWALD

I think nobody can doubt of the quality of Forseti in all terms. Musically, lyrically, spiritually, aesthetically, in a word, conceptually, there are not many groups that would stand at the same level. I am still wondering why nowadays so many bands are praised like outstanding musical projects and, meanwhile, I get the impression that others are not obtaining the recognition they deserve and that is for sure the case of Forseti. Only two records have been enough for the avid listener (and I mean with that, the one who is not simply happy with the first thing labelled with the term Neo-Folk, or with a similar unfortunate title), to realise that Andreas Ritter’s creation is something far beyond the medium predominant quality of the “genre”. Forseti are genius when creating simply beautiful songs that sound fresh at any time and are firmly rooted in tradition and pureness. For sure, a perfect understanding of the German language would help a lot to reach further levels, but there are many other aspects that serve the purpose. Ritter’s clear and paused voice transmits a palpable sincerity, the ever evocative presence of string instruments like cello or violin, the natural feeling of flutes...

These virtues show rapidly in the opener, “Verzweiflung”, with its crystalline guitar and that paused shy voice that seems like not wanting to interfere among the strings stirring passion and the captivating flute. But even deeper fall the emotive pair of strings and voices of “Welkes Blatt”, with the only accompaniment of the perennial acoustic guitar. If ballads started the album, animosity increases with “Sturmgeweiht”, and that catchy guitar notes with an elemental drum. I really enjoy the next, “Letzter Traum”, from its initial reciting and guitar friendly touch, towards that increasing emotion when other instruments join: glowing guitar and the ever vitality of the wind instrument that seems to array an imaginary landscape. A similar but even more touching effect of chained emotions is brought by “Wind”, all seem to incorporate precisely, and that way of intoning the voice sound is simply adorable. Soft drum bits give a welcome to marching ones when at the same time the general effect increases with the strings intervention that reaches a peak with really classical-like transformation. The rigour of drums contrasting with the flexible intensity of strings put an end to the first half of the album.

Second initiates with the title track following the ballad tradition and their flow of pure honesty and candour, again classical technique is again presented at its exquisite form. Forseti is not limited only to external symbols, but they interact with the inner, it is a constant influx of sentiments, ideas and concepts. Piano incorporates on “Herbstabend” to complete the immaculate harmony, a song quite near the Forseti spirit of some compositions prior to this album. The flute notes seem to slide among the piano and guitar, again, like an unending current. “Einsamkeit” is another of my favourites, a duet of voices, male-female, and of guitars, together with that rural atmosphere designed by the melodica. After those placid songs, “Abendrot” breaks out with strict percussion and snare drums, with its quick guitar, but previously the usual intensity manifested in a perfect couple formed by accordion and melodica, a sublime beauty, indeed. Palpitating drum and endless melody carry the listener towards the last. And that closing is the intimacy of “Black Jena”. Douglas P. returns the favour and sings this song based on Forseti’s cradle city. The voice is profound over the invariable guitar elegance. It suggests meditation enhanced by the hurting string affection, a song to be listened endlessly and a perfect piece to conclude.

The CD comes in a hard cover digipak with an original system for the disc settle, but what mostly surprises is the textured, the embossed letters and main image, something designed with the most absolute excellence. All is dominated by the green colour. That colour covers with its tone one of the best booklets I have ever seen. The photographic work is great, showing pictures of invincible nature: trees, water, mountains... All is represented here in perfect communion with the music contained in the disc; a booklet that is rather hard to describe with simple words. If the CD is simply astounding, I can affirm that one of the best items forming part of my personal collection is the box edition. This is limited to 393 copies, and is a thick bound green cloth box with golden letters and symbols embossed. It contains the LP “Windzeit”, a 10” titled “Raunen” including live material, a 7” with two unreleased songs, and finally, a CD re-edition of the debut record, “Jenzig”. Each of the vinyls, and the CD too, are also cloth bound with golden embossed typography, and are semi-transparent green records with different brown and clearer green stains. A double insert, with equally admirable artwork and photographs, covers each record, all designed to the minimum detail. The single includes a card signed by Ritter on one side and with a real blade stuck on the other.

The 12” has no extra tracks, it is exactly as the CD edition in terms of content but a different listening pleasure. The live record is a summary of the period 1999-2001 and presents eight tracks where an improvement is evident over the years. I was lucky enough to be at their 1999 performance in the WGT in Leipzig, it was my first ever encounter with Forseti and since then their attractive power and quality have permanently fascinated me. Two songs are included from that concert, the unreleased “Forseti lebt”, and “Ewigkeit”, this one only appeared as studio outtake on the compilation “Tod Im June”, and since then became one of my favourite Forseti compositions. Folk genre aside, they interpret a cover of a song called “Sag mir wo Du stehst”, with certain Punk reminiscences, and closing the first side, “Gesang der Jünglinge”, the first song of the “Jenzig” 10”, which loses some of its details but gains in force and energy. Side B commences with another unreleased piece called “Feuerspruch”, revealing again a less intimate nature, but a fairly good interpretation as well; that violin and the percussion work have really a medieval feeling, and would probably surprise if you are used only to their studio work. Now two songs from “Jenzig” follow, they are nice interpretations of “Wolfszeit” and “Erlkönig”, and to end this live experience another cover, only to be found here, “Als ich fortging”, a brilliant pearl of traditional tunes, specially the notes from the flute and voice, without forgetting the cosy violin.

Now it is time to play the single, probably one of the nicest pieces I have ever had the chance to listen to. “Europa” is a song that, if my memory does not fail, was interpreted during their concert at Lepizig in 1999. I am glad that it has been recorded in studio, since it is one of their most beautiful compositions. Maybe it would be impossible to find a homage to the old continent more sad and sincere than this. I can't avoid playing it repeatedly as it is too short and intense that surpasses any objective description. It departs from a very slow and lonely guitar, and then Ritter is aided by the usual charming female voice. Strings pierce the senses and it is sung as a reverence and hurting ode. Later on, it acquires a livelier mood when flute floats in the air and violin intensifies its performance. “Dunkel die Wälder” is a Finish Folklore piece sung by a girl, a caring kind voice, and that musically has the virtue of transmitting so much in a very short time space; like “Europa”. Fluid guitar and homely accordion make the rest. I am really beguiled by both songs as I am by the pictures that adorns them visually, which are probably the best of the whole in my opinion.   

Finally I will put my attention on the “Jenzig” CD reissue, originally published by Eis und Licht in a limited edition of 550. It is presented in the same way as the album and contains equally outstanding photography, and in this particular case also complete lyrics. If I am not wrong, this CD is sold separately too. I made an article for the last magazine issue of SDC including an interview with Andreas Ritter and a review of this debut mini-album, so if you can read Spanish we still have copies available. “Jenzig” is a perfect debut as I expected when I saw them live during the referred festival, and after hearing their contribution to the compilation “Das Graue Corps”. Eight songs of delight and enlightenment, where their usual instruments and voices draw huge landscapes of indisputable greatness. Places of longing and new energies interacting and a special mountain from where the notes descend mixed within the fresh air. Thus, the album work is completed with that extra track at the end. Jenzig II culminates the oeuvre since it was only available as an unreleased composition in the first volume of the “Lichttaufe” compilation.

Once so many good songs have been offered and Forseti occupies an important part of my musical tastes, I am sure the story will continue as brilliantly as with every note composed during their short career.

F. Paco González

pacogonzalez@sekuenciasdeculto.com