Aphelion reviews:

Celestial Voices
by LJS

Aphelion is Amethystium’s follow up to their much praised debut, Odonata. Similar in style and mood, Aphelion is a masterful and mysterious blend of subliminal synths, ambient beats, angelic vocals and eastern inspirations. A deep, rich and moody soundscape, it begins with “Shadow to Light” that conjures mysterious feelings of awe. This is music for wild imaginations and otherworldly dreamers. Close your eyes and imagine walking through dark ancient forests with glimmers of sunlight lighting the way…

There are moments of intense beauty created by spacey electronica, ethnic flutes and echoing female vocals - although darkness is always around the corner. It is as if we are on a musical quest and there are varying landscapes to be crossed, forces to meet, doors to open and treasures to find. “Gates of Morpheus” is a song immersed in a haunting and dangerous darkness but one that is also deeply moving. Hypnotic slow trancey beats blend with shadowy synths and otherworldly vocals. Yet the overwhelming feeling is one of hope – of carrying on alone and surviving, of seeking out the light, of accepting the darkness as a contrast and balance to the light. The song that follows is one of peaceful and soothing beauty. “Autumn Interlude” features Gregorian monks chanting, angelic choirs and the soulful vocals of Joyelle Brandt. Tinkling pianos, flutes and high synths are grounded by ambient and earthy beats.

Aphelion is a truly rich and ambitious project that could only be created by a truly skilled musical visionary. Composed, created and produced by the Norwegian Oystein Ramfjord, this is a masterpiece of musical imagination. Amethystium describes its extraordinary sound as a blend of “ambient, new age, electronica, darkwave and ethnic music” - an interesting concept that is fully realized in this album. What amazes and impresses is the subtle mood changes that well up different emotions and mind states. And importantly, the intensity and richness of the sound is not lost or loosened during the course of the 11 track album. Fusing light and shadow and past, present and future, Aphelion is simultaneously soothing and energizing, unique and universal. It’s an intense musical journey that can’t be listened to on repeat - imagine watching a Lord of the Rings film twice in one afternoon. I highly recommend you listen to this epic sonic treat – turn the volume up and enjoy some epic dreaming.


StarVox Music Zine
by Mike Ventarola

When Norwegian artist Amethystium first came to my attention a few years back, it was refreshing to hear organic sound between layers of lush music. This was clearly a new direction that ethereal music needed to take, and like the artist Pulsar Bleu, Amethystium’s music seems to emanate from a faraway time and place in mankind’s arcane past.

Although the work itself is labeled as “new age” as a means of marketing and for record placement in the music shops, the soul of the work is clearly embedded in the ambient history of underground ethereal music. Unlike other new age artists, Amethystium steeps the world of sound with layers of Gregorian chants, Middle Eastern intonations, tribal percussion, angelic vocals and mystical flutes. The average “new age” artist merely creates sound that is fluffy and light. Amethystium, however, takes sound to a level and texture that ventures forth between the veil of light and dark, clearly demonstrating why this work has been embraced by goth ethereal fans worldwide.

Previously, Amethystium’s top Billboard charting CD, Odonata was utilized by this reviewer as an unofficial music therapy experiment to test learning skills with a mentally challenged young woman. The songs resonated within the untapped recesses of this young woman’s mind and she was able to learn to feed herself for the first time in her life. For many years, various therapists were unable to motivate her to learn anything until that magical moment that culminated with the association of a system of “musical” rewards that included the unique work of Amethystium. I digress on this point because it should be made evident that Amethystium doesn’t “just” create music. Somehow, he taps into the unseen realm of psychological and neuro-wave lengths and creates a mental stimulus from it, conjuring a positive response from the listener.

Amethystium’s latest release Aphelion is no less brilliant than the preceding release. While the world anxiously watches the fulmination of a rising war and conflict, it is impossible not to feel some of the encroaching tension and anxiety that is building on a global scale. After playing Aphelion, the stress and anxiety seems to melt away, leaving in its place clarity and focus for working towards a better tomorrow.

The vocalist’s who lend their talents to this project are no less than magnificent in their own right. They carve a cleansing sensation that is akin to bathing under a tropical waterfall surrounded by a fragrant garden in a personal paradise of sorts. By the time one reaches “Autumn Interlude” as sung by Joyelle Brandt, one cannot help but feel as though they have truly ventured into the stratosphere of timelessness.

A track by track review seems pointless though because the work has to be taken in its entirety to be fully appreciated. Each song builds upon the next, delicately creating a sacred space away from the cares of the everyday world. Thankfully, in today’s troubled times, music from artists such as Amethystium seems to be the only remedy left to obtain a blissful peace of mind.

Aphelion is akin to taking a mental vacation to the four corners of the world. The majority of world influences are clearly evident, yet they are constructed in such a way that bespeaks harmony in the tragedy, growth after rising from destruction. Do seek out this recording and let your spirit soar to places you never thought possible.


Wind and Wire
by Bill Binkelman

Neatly avoiding the dreaded sophomore slump, Norwegian artist Øystein Ramfjord, who records as Amethystium, has released Aphelion, another immediately accessible and enjoyable collection of delectable ear candy. Once again, he shows a deft hand at crafting songs full of infectious beats, melodic hooks, and interesting subtleties. Also once again, the music is expertly produced and mixed and the tunes themselves are polished to a nice chromium sheen. Keyboards glisten and sparkle when they're supposed to, synth strings are lush and sensuous, and vocal chants (a la Enigma/Delerium) are blended in with the beats and melodies with almost surgical precision.

So, what's new here? Actually, quite a bit. Ramfjord incorporates more overt vocals on some tracks (which may or may not sit well with everyone - personally, I liked the additional singing most of the time) and he also adds some new world fusion wrinkles here and there (such as the opening tabla on "Garden of Sakuntala"). Of course, fans of his first effort (Odonata) won't be disappointed by songs like the opening "Shadow to Light" which opens with haunting female choruses on top of a bed of liquid synths, only to have some rapid-fire broken beats enter the mix, followed soon by one of Ramfjord's patented synth sounds echoing out a lonely plaintive refrain.

Three guest vocalists are mentioned by name in the liner notes, and one of them, Joyelle Brandt, shines through on "Autumn Interlude," the track which features real "lyrics," and it's an album highlight. Tapping into the same vein as Delerium did when Sarah McLachlan sang with them, Ramfjord lays down a mellow chill-out beat, echoed piano, and soaring synth flute, before Ms. Brandt's delicious multi-tracked vocals emerge from the shadows, weaving a heady and sexy spell of both wordless and lyric singing.

Another way that Ramfjord has evolved since Odonata is his more complex rhythms and a more adventurous approach to the layering of his arsenal of keyboards. Aphelion is not just Odonata part 2. "Elvensong" opens with pulsing clipped beats and then folds in sampled/midi electric guitar, romantically soaring synths, and a sad melodic refrain. Synth choruses and piano later tie it all in with the usual Amethystium "sound." "Ad Astra" incorporates backward-looped beats, the characteristic Amethystium synth "horn" and echoed keyboards, all wrapped up in plenty of drama via some nicely layered-in vocal chants. The bridge on this track pumps up the beats to a subdued volume (but lighting-fast in tempo) and also tosses in frame drum and quasi-Berlin zapping synths. See what I mean by saying Ramfjord has aimed a little higher? Winding down at the end, Aphelion ends with "Berceuse," a track which approaches floating ambient sensibilities at the start with its washes of keyboards and then evolves into some nicely chilled beats and a somber nostalgic melodic refrain on the keyboards.

Whoever at Neurodisc Records was smart enough to grab this guy from mp3.com (where his first album initially was sold) and snag him for the label should be given a new BMW. Amethystium/Øystein Ramfjord crafts some of the best chill-out music around these days. Aphelion is sweet stuff for lovers of that particular subgenre of ambient and new age music that features sensuous beats, breathy choruses and chants, and a wide array of warmly melodic synths. From the bubbling sexiness of "Exultation" to the glitch-ambient touches that grace the opening of "Gates of Morpheus" to the percolating synths, shuffling high hats, and sultry wordless vocals of "Shibumi," this CD is flat-out gorgeous and begs to be cranked up and grooved to, either on your living room floor or in your car speeding down the highway. Recommended.


Billboard Magazine
by JD

Aphelion is the point where the earth is furthest from the sun, and Amethystium creates a suitably twilight world of pastoral fantasy. For his second outing as Amethystium, Norwegian keyboardist/ composer Øystein Ramfjord creates a compelling synthesis of Kitaro-esque melodies, Enigma-hued chants, Delirium-like moods, and just enough Deep Forest ethnic touches to be exotic. Anchoring them to downtempo electronica and lush synthesizer orchestrations, Ramsfjord employs resolutely analog sounds along with the post-modern keyboardist's cut-and-paste sampling arsenal where Gothic choirs, Chinese flutes, and Indian tablas digitally converge in a virtual orchestra. With titles like "Shadow to Light," "Elvensong," and "Ad Astra," listeners might expect Amethystium's themes to be heroic and sweeping - which they are on an album that seems to elevate from the speakers.


Ambient Musings
by Candi B.

Firstly, I must remark on the absolutely gorgeous CD cover art and packaging of this release. The music contained here thoroughly conveys its essence, inviting the listener to commune with nature spirits as they walk a path of beauty and wonder – the path of Aphelion. I took one listen to the new album by Amethystium (a project by Øystein Ramfjord of Norway) and was totally swept away by what I heard. I feel it even tops its predecessor, Odonata, in terms of production and artistic merit.

This album designs a lush and complex electronic backdrop which effectively supports the celestial sounds of soothing angelic choirs and variably random voices that blend with synthesizers, percussion and lots of piano. Many songs are also carried by a wispy, whistling flute that adds to the wintry edge of much of the album. Infact, Ramfjord’s Norwegian roots really come shining through on this album, and although female Sanskrit chants and other ethnic influences occasionally float around in the ether, the visual place of dwelling consistently remains the same. It designs a foggy audio-landscape that radiates a misty coolness, conveying images of snow-capped mountains and evergreen forests.

Each track blends seamlessly into the next, with highlights that include Garden of Sakuntala and Exultation. Tracks like Gates of Morpheus and Elvensong are wonderful examples of the more dark and haunting feel that is present on certain parts of the album. However, my favorite song is the breathtaking Autumn Interlude, featuring the vocals of Joyelle Brandt. This track originally appeared on Amethystium’s demo CD of the same name as an mp3 download, but hadn’t been “officially” released until now. This now re-mastered version shifts through different climatic fazes, conveying the essence of the changing seasons. The song then blossoms into the sound of a distant celestial choir and Joyelle’s vocals, before the piece ends with beautiful trickling bells that paint a picture of crystal snowflake drops that evoke the initiation of winter.

Style-wise, closest comparissions of this album could be drawn to Enigma, Delerium, or early Deep Forest, though structurely it reminds me a bit more of the band Mythos, for it conveys that more abstract, "newagey" feel. Either way, Aphelion possesses its own, unique sound that could be best described as "magical" or "fairytale-like". It is evident that Ramfjord’s true musical identity has really come through on this recording. This mesmerizing work is sure to greet new and old listeners alike with much delight for many seasons to come!


Echoes
by John Diliberto

Fantasy music is in the air these days and Amethystium tunes into that spirit on his new CD, APHELION. Amethystium is Norwegian keyboardist Oystein Ramfjord, who takes his performance name from the gem amethyst. APHELION is his second CD and with titles like "Garden of Sakuntala," "Gates of Morpheus" and "Elvensong," you know he's working in a land of fairy tales and myths. He swirls electronica designs with old analog sounds and contemporary loops, forging a lush, imaginary orchestra. It's the soundtrack you wish you'd heard in Lord of the Rings. Gothic chants mix with Indian tabla drums, choirs from heaven vamp over churning electronica rhythms, while Chinese flutes cry out over synthesized cosmic vapor trails.Ramfjord uses ethno and electronica samples you hear elsewhere, but he weds them to a heroic sense of melody with synthesizer sequences that percolate in counterpoint to drum loops. Maybe it's the remote, Nordic atmosphere or the title, Aphelion - the point in the earth's orbit furthest from the sun - but Amethystium stays just this side of cool, avoiding the over-heated bombast of contemporaries like Yanni. Still, there's nothing under-stated about APHELION. It's all anthemic cadences and surging rhythms, a clarion call and charge into the fray, like the riders of Rohan coming to the rescue.


Wind and Wire
by Michael Debbage

With Contemporary Instrumental music I largely lean more to the refrained acoustic New Age genre. Generally, I avoid the contemporary electronic ambient styles that seem to intentionally avoid a melody. Never before have I heard a disc that so effectively amalgamates both styles and furthermore with great ease and inspiration.

With the exception of some very nominal voices, cello on "Elvensong" and lyrical content on "Autumn Interlude," [Aphelion] is written, performed and produced by mastermind Oystein Ramfjord. This is his second effort and the label was kind enough to send me a copy of the first release and there is no doubting the continued progression and exploration of musical themes and genres.

Surprisingly, my first exposure to this music was hearing the keyboard driven "Garden Of Sakuntala" pulsating over the sound system at the local Border Bookstore. Being unadventurous when it comes to musical exploration within this field, my pessimistic response was this couldn't be an album chock full of strong material. The opening track "Shadow To Light" was equal to the task and that pessimistic attitude would be quickly transformed to one of optimism. I was utterly astounded at the consistent arrangements and material with the ability to be flexible in the multi genres that are explored here.

The greatest exploration found here is "Autumn Interlude" [which] features Joyelle Brandt on vocals. For those of you who shy away from vocal arrangements, this performance is delicate and not overwrought. It is the only song that features a vocal performance in the complete sense of the word. All other arrangements are limited to chants and vocal embellishments that do not distract from the instrumentation but actually enhance it.

Speaking of vocal embellishments, "Gates Of Morpheus" precedes "Autumn Interlude" and is very moody and indulges in the use of vocal chants. This mid tempo composition is accompanied with some very eerie keyboard arrangements that have a very Eastern feel. "Shibumi" continues to build on this theme.

Probably most distinctive is the smooth flowing "Hymnody" that has some gorgeous keyboard work. It brings to mind the duo Exchange that had some nominal success. Once again, Ramfjord makes great use of vocal chants that have a hymnal quality to them. There is no doubting this man's ear for detail that is personified courtesy of his crisp production.

While the first two tracks tend to lean toward the freshman effort, the disc overall emphasizes more on melancholy themes with a greater prominence on the understated. Oystein Ramfjord is obviously an artist who refuses to stand still, yet with these explorations continues to make Amethystium a very stirring listening experience. This album reflects greater diversification, depth and crystal clear detail. Simply put, this is one of the warmest ambient discs I have heard to date and that is saying something coming from a traditionalist.