En algún lugar de Rusia, donde terminan los montes Urales y empieza la llanura siberiana, se halla la ciudad de Chelíabinsk, donde hace ya varios años, el instrumentista y compositor Anton Belov empezó sus andadas dentro del metal extremo de la mano de un proyecto de nombre Helengard, donde destilaba una mezcla entre el Black y el Doom metal atmosférico y elementos folklóricos de aquélla parte del mundo , sin embargo, un año más tarde parece como si Belov decidiese ir un paso más allá, queriendo rendir una especie de tributo a todo aquel paisajismo que lo rodeaba, y es por eso que tan solo un año más tarde, Kauan, cuyo significado en finés viene a ser algo así como “por mucho tiempo”, empezó a tomar forma. Tras la publicación en 2007 de la mano de Firebox, del aclamado debut “Lummikuro”, que cosecho una larga lista de buenas críticas, Kauan ha ido avanzando lentamente con el paso de los años hacia una significativa transición en su sonido, dejando atrás su Doom Metal oscuro de corte atmosférico quizá más cercano a los comienzos de Helengard, hasta desembocar por completo en un sonido donde reina el ambiente atmosférico y acústico, entrelazando incluso con elementos post-rockeros, más característicos de bandas como los finlandeses Sigur Ros e incluso me vienen a la cabeza ciertas similitudes con algún trabajo acústico que le haya oído a October Falls. “Aava Kuulen Maa”, disco que ocupa hoy este breve texto, es ya la tercera entrega que pone en el mercado una formación completada por la violinista Lubov Mushnikova.

Nuevamente las etiquetas vuelven a quedar en desuso ante una obra que si bien ha sido clasificada en el umbral del Doom Metal, imagino que por el irrelevante hecho de esa armonía tan melancólica que destila cada uno de los cinco cortes que lo componen, sin embargo insisto en que todo ello es relativo ya que (al menos a mi) resulta difícil encontrar aquí algún guiño que incite a la depresión sino que creo lo que nos intenta transmitir es como una especie de viaje a través de atmósferas pausadas, delicadas e momentáneamente frágiles, todo ello realzado por un teclado que consigue desdoblarse correctamente a la hora de actuar de un frágil fondo de piano, como a la hora de meter partes de sintetizador bastante similares e igual de acertadas.

El concepto de “Aava Tuulen Maa” viene a ser instrumental en gran medida, sus cinco temas se mueven entre los cuatro y los diez minutos, desenvolviendo unas composiciones lentas y ambientadas en la naturaleza, sin saber donde termina un tema y empieza otro, dejando entrever matices como una tormenta o el posterior sonido de la lluvia incitando a cerrar los ojos e imaginarse en una especie de bosque cubierto por una densa niebla. Ocasionalmente ello se ve perturbado por entradas más bien puntuales de la voz de Belov, como un fragmento de una canción folk, pausada y sin desentonar del conjunto, donde lo único que llama la atención es que el idioma elegido aquí es el finés. Distintas serán las opiniones al respecto, sin embargo cero que es un idioma bastante más conocido y acorde, ya sea por la poca utilización de la lengua materna del ruso. También encontraremos algún matiz rockero también puntual en forma de guitarra por ejemplo en el segundo corte “Valveuni” mientras que la presencia del violín en este “Aava Tuulen Maa” es otro elemento a tener en cuenta, apareciendo cuando tiene que aparecer e ayudando a matizar la vena más melancólica y emotiva de este álbum. Un disco para tomarse con calma y de varias escuchas para poder apreciar sus diversos matices, a un servidor le resulta complicado hacer un análisis más técnico de un disco de semejantes características.

Author: The Moor

El frío de Rusia, la solemnidad de la música de KAUAN y el sentimiento que de estas emergen no podría ser de otra manera que solemne y climático.
El dúo que conforman Anton Belov (músico también de Strecosa y Helengard) y Lyubov Mushnikova nos presenta una propuesta desarrollada desde la calma de instrumentaciones plenas de cadencia sonora y un llamativo y festejable buen gusto por los climas atmosféricos.
Ellos lograron en poco tiempo grabar tres álbumes: “Lumikuuro”, fue el primero, lanzado en 2007 por Firebox Records, “Tietäjän Laulu” al año siguiente y el que nos ocupa en esta oportunidad (“Aava Tuulen Maa”) en 2009.
“Aava Tuulen Maa” contiene solo 5 canciones, aunque estas son extensas (tres superan los diez minutos de duración) y se exteriorizan basadas en constantes cambios de ritmo e intervalos semi acústicos muy logrados.
Difíciles de encasillar, estos dos músicos interpretan la música de manera tal que cualquier titulo que pongamos a su estilo termina por ser una parcial interpretación del efecto de la misma.
Pero aquí hay Doom, Rock, algo de Folk…pero sobre todo, mucha emoción rondando los ambientes, haciéndolos emotivos, sobrios, melancólicos, etc.
“Valveuni” y “Föhn” son brillantes, pues poseen melodías y climas (esta ultima palabra es obligación nombrarla en este álbum) que conmueven y para nada cansan al escucha o redundan en si mismos.
Para quienes gusten de probar otras sonoridades (menos extremas en este caso) KAUAN es una opción realmente valiosa que los contentará absolutamente.

Author: Gustavo Piccini

I ALWAYS enjoy a good Kauan record. This particular release marks the first time black metal style vocals are completely disregarded (see the interview for more details), but also this has to be the most melodic release so far. Heavy parts are limited to a few choppy guitar riffs (found mainly on the final track ‘Neulana Hetkessa,’ ‘Sokea Sisar’ and ‘Fohn.’) and that’s pretty much it. The combination of acoustic guitars, ambient synth passages and violins makes for a very relaxing and epic set of tracks. Opener ‘Ommeltu Polku’ clocks in at just under 5 minutes, making it the shortest track here and peculiarly, the only song completely devoid of vocals. You’ll hear rain and wind sounds throughout the disc, cementing in your mind the rather beautiful but melancholic feeling of a rain/wind storm. The opening instrumentation definitely reminded me of the works of Agalloch or even Tenhi, though the atmosphere evoked is quite stunning. The vocals are almost nonexistent on this entire album; they pop up in about two or three places on nearly every track, and are gone as quick as they start. You’ll be hard pressed to notice at first, though, since many tracks are at least 10 minutes long (one is 12 minutes). The songs, with one exception (the tune ‘Fohn’), mainly jump around A LOT, varying not just in structure but in the actual construction of layers utilizing violins, piano notes, clean sung vocals, and almost tribal percussion. Many times this jumping around makes it hard to lock into a certain feeling or emotion, but Kauan are indeed MASTERS of instrumentation layering, where other bands would fail miserably with this concept. The long song lengths of many tracks makes this even MORE astonishing, holding your interest for the entire length of the track, and you’ll be hearing things you missed the first few listens. My only problem with this CD is the ending cut ‘Neulana Hetkessa,’ where the violins created a rather eerie and haunting set of notes that didn’t really seem to sit well with the mood of the disc. (You’ll recall a similar problem with the tribal digeridoo like instrumentation on their last release “Tietajan Laulu.”) Thankfully this only occurs near the end of the last track. Incidentally, one of the most beautiful passages on the disc occurs around the 7:15 mark of ‘Sokea Sisar,’ where the high end synth notes completely change the structure of the song and carry the piano and violin notes to it’s end. Similarly, our last song on the disc contains some beautiful piano notes, coupled with acoustics and violins, making for a very epic feeling (probably the most powerful on the disc). Kauan has been amazingly consistent for three releases now, and though the blackened vocal work is completely gone, this is an amazing work of art, and I can’t wait for disc number 4! In the meantime, along with the pick hit of this issue (while I’m eagerly awaiting disc 4), go read the lengthy feature interview with this creative and highly talented band.

“Contro il logorio della vita moderna!” Questa era la frase di un’indimenticata pubblicità di un amaro, a base di carciofo, ai tempi di “Carosello”. È anche quello che ho pensato dopo il primo ascolto. I Kauan (parola finlandese che dovrebbe significare “per molto tempo”) abbandonano il loro stile precedente e danno alla luce un disco completamente folk. Se questi due russi vogliono cambiare genere ogni volta, e in questa maniera, facciano pure. Anton Belov (chitarre, voce, tastiere) e Lubov Mushinkova (violino) forgiano un’atmosfera autunnale/surreale che si mantiene inalterata per tutto il cd. Quest’atmosfera, quest’anima calma, sognante, calda, con un che di bucolico e con una venatura malinconica, è il punto di forza di questo lavoro. Le emozioni che ne nascono infatti sono le vere protagoniste. Non aspettatevi di cadere nelle braccia di Morfeo per il ritmo lento che caratterizza l’intera release: il duo è in gamba e riesce a tenere svegli, basta provare a seguirli. Sia ben chiaro che non troverete nulla di rock (tanto meno di estremo), anche se, a voler guardare bene, l’unico lascito dalla “vita” precedente, si ritrova nella voce roca in alcuni punti. I suoni elettronici sono molto ben amalgamati alle chitarre, al violino e alle brevi parti cantate. Non aspettatevi grandi differenze di suoni o di composizione tra le tracce (forse “Föhn” è l’unica che si stacca per le parti in crescendo) tutte molto lunghe; non troverete neppure riffs aggressivi, tecnicismi o assoli. Ma va bene così. Sarebbero un peso per le canzoni, che già sono al limite dell’ipertrofia. Fronzoli che costringerebbero i pensieri e ruberebbero la scena alle emozioni. Da apprezzare anche il booklet e il package. Un disco non per tutti, ma state al loro gioco e vedrete che ne varrà la pena. Perdersi un po’ in un angolo sognante, nella frenesia quotidiana e farlo con classe, è una cosa che fa bene allo spirito.

Author: Alberto Merlotti

Kauan is one of the most interesting bands coming from Russia. You never know what you can get from a new release. Their first album was Doom/Black Metal, second – something between Folk and Metal, and here we have Post Rock/Neo-Folk. I know, this is a Metal magazine and albums like this must be criticized a lot, but in my opinion for Kauan changes this into a good new option. Do you ask why? Because all the bands like this are more into mood and feeling than Metal, and when this project began playing Post Rock, they raised their music to another level. Everything became more professional, more sentimental, more spiritual and stronger.
It is strange to hear a band, which is from Russia, but singing in Finnish. On the other hand, when you analyze the band’s ideas and destination, you could easily understand why they chose singing in Finnish. Yes, this speech is much more velvet and sounds more natural, than that violate and harsh Russian articulation. Moreover, it is better when you’re singing Post Rock, this music is really stilly and destroying word in Russian language refutes all space.
“Aava Tuulen Maa” is dedicated to atmosphere. I see that I repeat and repeat this boring proposition, but I’m sure, if we talk about this release, mood is the strongest part. Firstly, when other works were technical and had a bit of dark feeling, this is pure light and clear. We can hear something from sunny forest – birds and trees swooshing. Every second here strongly reminds me of nature. Piano voice, monotonous drums and guitars – everything working for feelings (you know like all Post Rock), emotions and for the images created in the listener’s mind.
But, you should know that Kauan is not a pioneering band and most of their music details can be heard in bands like Agalloch, Uaral, Empyrium or God is an Astronaut, respectively. Although completely similar music like this you have never heard before. It is an album, which has taken many details from other bands and with this has created their own style. It is weird, but this music in some moments sounds like classical music for me – I hear something like Beethoven or Chopin, but it is only a blink and every music sound is much more difficult. So besides being professional this album is unique too.
Not only the good side is on this album – there is no perfect, everything has a bad side. When this band third time changes its style, their music becomes simpler. I think that I get something full of Folk insertions, but here is only that primitive, natural sound. I really love the song from the second album, when they use traditional instruments – it sounds like shamanic music. And now we have only the airy and a little bit unmemorable music, which is great, but there is no tradition and roots (it sounds like most of these today Neo-Folk bands), which cultivate nature, but have no traditional sound. However, this music is spiritual and that is more than just something from Folklore repetition without private things.
To sum up, I really like this album and this work is one of those, which grows with every listen, in every moment you can find something unheard before, something which raises you to another space. Yes, this is surely not Metal, this is almost not Rock, too, but I like it for what it is. Purely strong and worthy album for open-minded people, but it probably will be shit for those who like Black Metal and nothing else.

Author: Bloodie

KAUAN has crossed my path a couple of times. I remember them as a TENHI (had an album called “Kauan” way back…) and AGALLOCH influenced, under-produced black / folk metal act. Their first album sucked and the second one had some qualities, but fell flat in the end. After that, I forgot about them, but by accident I stumbled across this most recent album called “Aava Tuulen Maa”. I was immediately attracted by the great looks! An awesome picture of a landscape, a grey sky and a most remarkable logo. Functional, beautiful simplicity.

The core in KAUAN is Anton Belov. He sings, play the guitars, the keyboards and operates the programming. Backed up he is by Lubov on violin. Together they’ve this time given birth to 5 long tracks. The intro is a bit shorter than the rest, and is also the only totally instrumental track. The rest has vocals, in Finnish. Funny, since the band is from Russia, but Anton’s been singing in Finnish since the debut and it sounds very fair.

I was not prepared to meet such beauty before I put the CD in the stereo. It blew me away from the first notes, and kept me desirous to hear more and more as the music progressed. The metal in KAUAN’s music is more or less a pale memory. This album is 70% acoustic, very dreamy, airy and melancholic. Not in the depressing way, more like… The autumn, filled with nostalgia and something in between warmth and cold. There are forests of wonderful piano music, winds of aerial keyboards, waterdrops of acoustic guitars and some extremely soothing electric guitar solos and riffs (45 seconds into “Föhn” and you’ll know what I’m talking about). And, of course, Anton’s voice that flows out and form melodies not of this world.
You can say this resembles TENHI in more than one way, but mostly due to the atmosphere and the feeling of mystical nature around you as you listen. The sound is more easygoing with more prominent post-rock influences, and those keyboards would never fit in TENHI’s soundscapes.

The negative sides here are very few. Maybe some of the intros, before all the instruments are in place, may sound a tad cheesy, sometimes like ENIGMA, but when the tracks are in their full bloom, it’s just perfect. Yes, perfect. And I hope this is the album that defines KAUAN, because I want more, more, more of this. More I say!

Author: cmerik

Someone in Russia really, really likes Tenhi. So much so, that they’ve not only set out to replicate Finnish band’s Tenhi’s calm, gentle folk meets rock style, but they’ve named their band after Tenhi’s most impactful album, Kauan, and even though they’re Russian, the lyrics are in Finnish.

It’s all good, though, because Aava Tuulen Maa is excellent. Lush, gorgeous acoustic tones mixed with the odd electric one, paired with tasteful, equally relaxing drums. Kauan’s music is introspective, delicate, somber, yet sweet… just like Tenhi’s.

If we’re going to have a side-by-side shootout, however, one ca nsay that Kauan’s vocals are much better than Tenhi’s, so if you’re going to start your foray into this rewarding territory, you should probably start with Aava Tuulen Maa, although the rating of this record ultimately reflects on how original Kauan’s music is.

Aava Tuulen Maa is kind of like the soundtrack to philosophizing about nature and love by a pristine lake. It’s one of the loveliest albums released in 2009.

Author: Roberto Martinelli

O Kauan que estou escutando, aliás, escutei umas dezenove vezes desde que o promo chegou aqui, neste terceiro álbum não é aquele que ouvira no debut – “Lumikuuro” (2007). Infelizmente não tive acesso ao segundo álbum, “Tietajan Laulu” de 2008, para comparar e notar a transição de uma banda que fazia Folk Doom Metal para uma “nova” banda que faz um Rock de vanguarda. Alguns classificam como Post Rock, o fato é que independente de conceito ou rótulo o que se ouve ao longo das cinco musicas do track list é uma banda – se bem que o Kauan tem somente duas pessoas na sua line up – criativa, ousada e pouco preocupada em impor limites à sua musicalidade.

Porém o que fica patente é que ainda há uma ligação com seu passado, já que a melancolia é um sentimento que aflora de sua musicalidade. Uma obra que nos conduz à introspecção de forma sutil e sem sobressaltos. Confesso a vocês que este álbum foi um dos melhores que chegou à nossa redação. Perfeito para doometallers e para quem procura ouvir algo diferente e com sentimento.

Author: Jaime Amorim

Бытует мнение, что третий альбом для каждой группы становится самым важным, после него можно говорить, есть ли будущее у группы либо же на ней можно ставить большой крест. В случае с KAUAN, я могу с уверенностью сказать, что будущее у этого коллектива есть, причём очень даже светлое. Начнём с того, новый альбом дуэта из Челябинска был выпущен не только в России, но и на западе, причем не где-нибудь, а на известном финском лейбле Firebox Records. Что автоматом означает, что музыка KAUAN теперь будет доступна куда более широкой аудитории. Нужно сказать, что KAUAN в этот раз немного удивили, если раньше на их музыку можно было повесить ярлык dark folk/black/doom metal, то теперь их стиль можно обозначить как ambient/post rock. “Aava Tuulen Maa” – это очень атмосферный альбом, под завязку наполненный эмоциями, способных погрузить в состояние покоя и умиротворения. Альбом для романтиков, если хотите. Этот диск надо слушать где-нибудь на природе, наслаждаясь бескрайними полями и лугами. Лирика как обычно на финском языке, несмотря на то, что группа родом из России. Также не могу не отметить шикарный двадцатистраничный буклет, который сделан на матовой бумаге и внутри которого можно увидеть настоящие акварельные рисунки которые идеально передают настроение и атмосферу композиций. Такие релизы не пропускают…

Author: Costas

Entrer dans cet album de Kauan, c’est comme se diluer dans une aquarelle. Dès la première mélodie entamée, le ciel se colore de couleurs pastel. Le noir est banni. Tout n’est que profusion de bleu océan, de violet lavande, de vert apaisant ou de jaune lumineux. Tel un tableau de quiétude, « Aava Tuulen Maa » dessine des paysages feutrés où l’on se plait à se fondre.

Semblable au peintre qui ajoute chaque jour des touches à sa toile, Kauan incorpore à ses morceaux toujours plus de nuance grâce à des instruments posés non seulement avec finesse mais aussi d’une manière juste et harmonieuse. On est loin des grands coups de pinceau et des traits grossiers : ici, la musique dépeint le monde avec douceur et harmonie. Chaque contour s’entend sans défaut, les mélodies s’esquissent avec précision et les teintes sont respectées. Aucune distorsion violente, aucun cri haineux, seul le violon et le piano viennent s’égarer dans ces champs de mélancolie. De temps en temps, comme une brise dans cette atmosphère paisible, des voix claires viennent chanter quelques mélodies gorgées d’émotions. Kauan lève la gravité, pose ses couleurs musicales et dessine un nouvel horizon à la surface des choses.

Écouter ce dernier album de Kauan, c’est comme sentir les pétales des fleurs estivales venir nous chatouiller le visage alors qu’une guitare acoustique grisée de soleil entonne ses plus beaux airs. C’est comme s’asseoir sur l’herbe sauvage et sèche, regarder les nuages passer et entendre les résonances de leur passage entre deux gouttes de piano. C’est comme se perdre dans le calme et laisser le flou des pastels nous guider dans cette aquarelle délicieuse…

Écouter Kauan, en fait, c’est respirer. Plutôt bien pour l’été, non ?!

Author: lotus