Von Hertzen Brothers.

Jono Moulds checks out the new VON HERTZEN BROTHERS Album for The Rock & Roll Circus. “RED ALERT IN THE BLUE FOREST” in due for release on 18^th MARCH 2022.

Finland’s Von Hertzen Brothers are pleased to announce the release of a forthcoming new studio album, “Red Alert in the Blue Forest”, on the 18th of March 2022. The album will be released through Doing Being Music.

Mikko Von Hertzen says: “The harmony in the Blue Forest is gone. The harmony within is being challenged. We see and feel this imbalance threatening our peaceful existence every day and are reminded of the loss caused and experienced by us humans. So, how do we deal with all the loss? We see warning signs and Red Alert lights going off everywhere but still find it hard to crystallize a constructive response to these big problems. But sometimes we find ourselves experiencing or witnessing something so beautiful and special in our lives that it forces us to do everything we can to share it through our art.

These are the themes we address on our latest release. Initially, we approached this double album as three painters in a collaborative art show, all of us plunging into the creative process separately. Joint exhibitions can often feel a bit scattered and incoherent, but the standstill of the pandemic gave us the time needed to merge and polish our art and, in the end, the vision of three individuals became a vision of one.”

Quite honesty, as I begin to listen to the new album from the ‘Von Hertzen Brothers’ I have no idea what to expect, except the album cover itself, which has the brothers emblazoned over it in a form of floral headdress. So, onwards, and upwards.

‘Day of Reckoning’ has a spacy, prog rock opening, full of layered vocal and harmonious charm. This lasts for just over a minute before the song takes on a quite different vibe, where a single drum strike beckons a faster paced offering, but there is still enough falsetto vocal to connect it to the opening melodious ambiance. First thing that strikes me is the vocal, which is by no means harsh, but rather soft, of a high range and quite unique sounding. The guitar solo is arranged and produced in a similar way to the song, that being, unique sounding as it almost fades in and out, with the added effect of a storm underway, keeping it company. Well, that’s my first taste of Von Hertzen Brothers and I’m intrigued to find out what else is in store.

So, a quick glance at the track listing and I notice that the second song up on the album ‘Blue Forest’ comes in at over 9 minutes (there are several songs on this album that have epic times), so I’ll try and summarise this as well as I can without writing a full page of review. Another very prog infused beginning, where a synth and keyboard are adopted, with more of that ‘choirboy’ style vocal. This section is very laid back and outlines the story being told (as detailed within the introduction to this review). A series of effects are added to this thematic landscape that runs through the first 3 and half minutes, before there is a change and some electronic drums enter the fray to kick off the next segment of the song, along with some sporadic piano. This ‘second’ phase of the song remains subdued, and although the pace feels like it’s about to kick in, the actuality is the track keeps calm and chilled, that is until around 5 and half minutes in and then and only then, it explodes into a bit more life, where there is an almost ‘Muse’ mix of guitar and heavy synth. The complexity of the song is such that there is so much contrast and variety, that from now on in, it moves between light and heavy phases, always keeping things super interesting for the listener. The outro is quite magnificent, as we get heavier, well……. Heavier everything, including some piercing vocal to support the crescendo that is the final couple of minutes of this epic. It completes itself as it began, with subtle synth effects. Wow!! Complex and beautiful.

‘The Promise’ is built around another soundscape of synth and associated effects, before an acoustic guitar can be heard, playing a sequence of ‘off-the-cuff’ chords. This has more of a traditional/folk sound to its initial burst, as those now familiar haunting vocals are joined by the occasional drumbeat, wood laden percussion and fiddle. Even though the vibe is quite a bit different, there is a heaviness and darkness attached to it that is only relinquished halfway through as a synth breaks the arrangement, well, albeit for a moment. A light and almost angelic vocal bridge is added, which brings a little light relief, but this is extinguished by a growling synth and guitar, all the time backed up by the deft touches of fiddle and vocal. This song could quite easily be the theme to a TV show/film, it has the feel about it, but my overriding thoughts are that considering it has that ‘folk’ feel, it’s still heavy, damned heavy!!! Great song.

Another very folksy start to ’All of a sudden you’re gone’ where we have predominantly just acoustic guitar and vocal, with the odd splash of cymbal for some atmospheric effect. As we move through this 7.00-minute piece, there are some well-placed and resonant low register vocal that gives the opening a far more haunting feel. Things start to unfold not too long after, with a brief respite of tremolo guitar and slide, but, as we re-enter further verse sections, there is the addition of some delicate piano. This certainly has an ethereal vibe to it, with a magical sensibility. As we move from an acoustic solo and through a quick trumpet piece, the song builds to a strong climax, as the band come together as one, where we meet strings, guitar and drum as the tune rises like the proverbial phoenix and finally rests. A beautifully arranged song that’s been superbly executed.

An upbeat and almost electro-pop vibe gives us the intro to ’Peace Patrol’ as very light guitar is the predominant feature on this mammoth 10.00-minute monster. At the start, this is more ‘A-ha’ in it’s make to these ears at least. We move away from this comparison quickly enough as there is a turn of the tide shortly after, as it certainly rises with some power. The same pattern of electro-pop quickly moves through to a pacier, rockier vibe which is the main formula for the first few minutes, but after this, we have more musical twists to take on board, where there is an almost ‘Eastern’ sounding section, played on acoustic guitar, with some great support and ferocious drumming. With a song that has a running time like this has and given that we have already noted the bands’ ability to ‘change tact’ at a drop of a hat, there is no surprise that there are further changes to the ‘musical landscape’. Just shy of the mid-point of the track, everything drops down to a single rhythm on the synth and just a high register vocal (a cross between Floyd and Muse). It becomes even more ‘Floydesque’ as this section develops, where the introduction of a ‘smoky’, significant saxophone solo takes the spotlight – again, unusual, and unique. As the saxophone solo comes to a natural conclusion, so an almighty and gain drenched guitar solo takes its stead. There is power and superb arrangement within this solo, that is also magnificently backed up by some great drumming and bass support. Epic stuff and the other side of the spectrum from whence this song started. As we begin to feel our way to the end of the tune, there still enough time to add further ‘bass sax’ lines over the ‘spacey’ backing.  Some ride this.

The intriguingly titled ‘Pirates of Raseborgian’ is up next, which starts of off with some heavy synth and a very simple drum and bass, that’s like a cross between ‘Muse’ and a psychedelic version of the ‘Dr Who’ theme (TBH, that’s the only way I could even think about describing it). This is folk themed, but with a modern/electro twist, which is a little strange, but a beguiling and mesmeric mix. One thing is for sure, just when I think I have a handle on their music and more importantly, their direction, then they dismantle that thought by coming up with something that’s even further left field than you could possibly anticipate. Never a dull moment with this. The track comfortably ‘moves’ along without a single change within its metronomic pace but is fleshed out with a great deal of variation and wide-ranging instrumentation.

‘Anil’ opens with more stunning acoustic runs and vocal, that sits well behind the guitar in all its ethereal majesty. As ‘Mikko von Hertzen’ sings the opening lines, I get instantly drawn in to both his high and low register vocal abilities, that once again, have a ‘folksy’, almost ‘Simon and Garfunkel meet Enya’ melody and tone about it. The vocal is beautiful, of that, there is no argument. Even more alluring is the musical accompaniment, which has its own identity, and fits perfectly within this strong and emotionally charged song. As the song unfolds, more instrumentation is added, which just builds and connects to the body of the track elegantly. The final minute and a half are a mix of woodwind and vocal support, always rooted into place by the solid drumming of ‘Kuoppamäki’. The song completes itself with the sound of children playing – Magical and although not‘rock’ based, this has its own quality.

As we end ‘Anil’ with the sound of children playing, so ‘Elbowed’ begins with the same, as we yet again hear children’s voices as an introduction to the tune, along with some ‘Swiss Cow-bell’?? (Must be a reason behind that). Why am I not surprised that we start the song off with a brass section and synth??, but here we are (love this eclectic mix of instrumentation that the band utilise). As for the opening, well, the vocal is yet again angelic sounding, as it’s been throughout, and draws you in instantly, and that’s not to mention the support vocal, which is mighty impressive. The constant synth lick that runs through the verse also ‘drags you in’ – these songs are incredibly well arranged and the musicianship on offer is frightening. For all ‘left field’ instrumentation choices to be found, the guitar solo is pure class and has some outstanding tone and sustain to it. Just when you think you are at the end of the song (yes, with more ‘Swiss Cow -Bell’ sounds) the song comes back to life with a strong and tense finish. Deep, meaningful, and then some!!!!!

Another highly atmospheric start to the much anticipated ‘Northern Lights’, which I singled out whilst reading the track-listing. As the synth/strings kick-in, the opening is pretty much how I’d imagined it would sound, very broody and setting the scene for what’s to come. That atmospheric beginning is then interrupted by a single bass note that appears to have delay added for uppermost effect, along with this, there is a definite ‘Floyd’ feeling coming through. Drums join the fold soon after, which give the song its pace and drive, and accentuates the continued rise of those synth runs, that ‘dart’ in and out from the back of the song. As we build, a lightly overdriven guitar is added, which gives further colour to proceedings. It’s not until we are well over two minutes into the track that vocal arrives – ‘Northern Lights – In your eyes – Northern Lights – In your eyes’, which is sung over the musical composition that has been constructed beforehand, albeit the further we progress through the track, there are further additions, where guitars and synth expand their respective sequences, and drums follow suit and increase in velocity – quite something. The first change in this method then suddenly hits in, as the bass comes to prominence, with a smooth display of runs that pave the way for another saxophone solo to land. We have now entered a ‘jazz fusion’ reality, which starts off quite calmly, but inevitably grows and grows into a frenzy, where power and passion are exhibited. What an incredible culmination to another excellent song.

Another acoustic guitar led opening to ‘Söderskär’ that simply ‘floats’ from the off, and for me, epitomises the underlying musical arrangements that can be found, either hidden or plainly in view all throughout this album. As with many of the songs contained on this new release, this tune is haunting, beautiful, and hypnotising all at the same time. That being said, there was always going to be a sadness and melancholy sat firmly within the musical content, and so that is indeed the case. The song, in its essence, is very simplistic, but even so, it still pulses with so much passion and craft that its undeniably grandiose. The start is made up of just vocal, guitar, and the occasional heavy beat of a drum, but this mood alters slightly, as further support vocal and a flurry of keyboard can be heard, that increases the tension.

‘Disappear there Kuoppamäki’ is the final instalment on this most interesting of albums, and to ‘finish’ (no pun intended there) things off, where we have one more acoustic based track that strides the same path as those that have come before. The guitar comes in a little later, as we hear the ‘creak’ of someone walking over wooden floorboards, or up wooden stairs to front the start of the tune, along with an accordion lead line. The song has a mystery and an evocative quality that is further enlightened by such a sweet vocal line, that marries to the composition with consummate ease. As we progress, there is further instrumentation layered, that shapes the final stages and lays the road to the track’s finale.

That’s all 11 tracks played, and it’s been quite some journey. And onto the summary, well, how and where to start?? Was I expecting the mix and eclectic nature of the songs – No. Was I surprised and completely taken in by the beauty and skill of the musicianship that I’ve heard? – 100% - absolutely.

Is this an album for the straight-ahead rock fan? Who knows, but if you are even a little curious and open minded about the range of music you listen too, then I fully suggest you check this album out. Hopefully, this review will give an insight into the wide-ranging tunes on offer, and you’ll be taken in, just as I have. Strange, diverse, magical, lingering, melancholic and folky – does that sum it up in full? Nowhere near, so I’d give it a spin and see for yourself.

Review by Jono Moulds

'All of a Sudden, You're Gone' - official music video Release date: 28th January 2022 Taken from the forthcoming album 'Red Alert in the Blue Forest', out 18th March 2022.

Von Hertzen Brothers are :-

Kie von Hertzen (guitars, backing vocals),

Mikko von Hertzen (vocals, guitar)

Jonne von Hertzen (bass guitar, backing vocals)

Sami Kuoppamäki – Drums

Robert Engstrand – Keys

Links to Von Hertzen Brothers :-

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For tickets and further information please visit Website