Лепта

Arkona must be one hell of a hard-working band, since second album 'Lepta' was released just over half a year after the band's debut 'Vozrozhdeniye', and does not let up on their brand of epic folk and pagan metal. Nonetheless, the minor flaws that some listeners may have found in 'Vozrozhdeniye' will undoubtedly come up again. This isn't to say that Arkona hadn't improved on their musical formula, just that they adapted to what they thought would work, and applied it to a more melodic albeit much shorter album in 'Lepta'.

The same themes and ideas found within the band's debut are in fact generated here. Masha once again uses her cultural and historical knowledge of Russia to produce some extremely interesting content. It's just a shame that the music doesn't quite match the quality and insight of the lyrical content itself. Some titles do falter, as on the unexplained and strangely placed 'Epilog', which should really have been the outro for 'Lepta'. It's a nice, atmospheric song, as all Arkona instrumentals are, just not in its right place as far as 'Lepta' is concerned. The band even go as far as to discover the more musical side of historic Russia, in which they take on the traditional Russian Folk song 'Oj, To No Vecher...', the lyrics naturally being sung in the same way.

One thing that is unfortunately noticeable is the fact that Masha's harsher vocals just don't fit well with the surrounding music at all. On opening song 'Sotkany Veka' (meaning 'Woven Ages', something that obviously refers to the history, alike their debut) the song almost seems to be rushed right away with Masha's harsh vocals, so you wouldn't exactly get a good first impression of the band had this album been your first. This isn't helped when the whole song itself proves to be an ultimately boring one. The chorus is too melodic for its own good (though some may prefer Masha's clean vocals all the time), and the guitars, in the same way, are delivered in such a half-hearted way that you may as well be listening to soft folk rock.

That said, there are instances where the vocals and instruments do help to bring the song together. Masha's powerfully harsh vocals on the equal as powerfully epic song 'Zarnicy Nashej Svobody' prove to be something quite unique, as the flow from between each of the instruments and Masha's vocals makes the song itself an instant highlight. Unfortunately this isn't continued throughout the album as on 'Vozrozhdeniye', but it shows that Arkona certainly hadn't given up yet.

Another outstanding yet predictable aspect of the music is yet again the use of atmospherics and keyboards. If you know of Arkona at all, you will surely know that the band have a tendency to splatter every possible song and instrument used with a background of lush symphonic materials, making the whole thing sound beautiful and epic. It may put the more extreme listeners off, but 'Lepta' sees the band taking more advantage of the guitars, bass and drums, whilst also incorporating these lush atmospherics and tinkling keyboards in a right but not at all excessive way.

Although 'Lepta' isn't altogether that different to the band's debut album, 'Vozrozhdeniye', there are subtle differences here and there. 'Voin Pravdy' (meaning 'Warrior of Truth') for example, is almost a happy, fun and punk-influenced song in the way that it seeks to reflect on victorious voyages and triumphs throughout Russian history. It sounds like it shouldn't have made it to the album, but alike 'Vozrozhdeniye's closing track, it is a nice break from all the intensity of the rest of the album itself. What is also additional and not necessarily different is the use of the flute by Masha. This isn't one of those instruments where it only favors one song out of ten, but in fact is used quite excessively on every single song of 'Lepta'. There are even guitar solos that accompany the flute, the flute itself almost acting as a substitute for an additional guitar.

So is Arkona's second album really that different then? Certainly the band could have rectified the minor flaws in 'Lepta's sound and produced three more exciting, unpredictable songs to replace the opening three that makes the listener yawn with weariness and boredom, but 'Lepta' serves as a nice transition into more melodic and bigger territory, even if the band really only want to stay put in their native Russia. Chances are, whether you like Arkona or not, 'Lepta' will definitely not change your mind. It may make you love or dislike them even more, but what is clear here is that Arkona still serve as an interesting band in a genre of predictability and (currently) generic boredom.

“Lepta", also originally released in 2004, represents more of a small step forward rather than giant leap for Arkona, bearing a sound recognisable to anyone who knew "Vozrozhdenie" well as the synth of Dimmu and Nightwish, coupled with Masha's femininised screams and the folk element of Turisas (undeniably used heavily before Turisas broke it big) give the band a fairly unique sound. While "Lepta" does have some good songs in it's cast, the flow and element of catchiness has somewhat deteriorated from "Vozrozhdenie". "Lepta O Gneve" stereotypes much of "Lepta" - the early section of the song being basically BM (think Satyricon) and it's second half merging bouncy folk-infused choral chanting and dramatic synth for atmospheric purposes, of course. While one can appreciate the fact Arkona have gone for varied dynamics within songs, it could be noted that less genre hopping within the structure of songs wouldn't be a bad thing. The greatness of Turisas' "Battle Metal", the defining folk metal album for me, is down to the usage of a colourful palette with it's tones being used sparingly to create stronger, more involving sections that don't jump around like a hyperactive child on Christmas sugar.

Because of Arkona's tendency to change track on a frequent basis, much like "Vozrozhdenie", the songs within "Lepta" are not the most varied and by the end have begun to lost much of what made them interesting at the beginning. The negative reaction that you may have perceived from this review is not the indication of a bad record, just that of a band yet to know what works best for them. Like many other bands where most attention is on the singer, the music within can be seen to be lacking in purpose and direction - in "Vyidu Ya Na Volushky" the riffing sounds shallow and forced, existing it seems as the interlude to the more entertaining periods of folkiness that come round every so often. Thankfully with so much attention given to Masha's Sabina Classen-like (Holy Moses) vocals it's lucky her convinction is hard to fault throughout, and though I haven't a clue what exactly she is singing the decision to sing only in Russian is to be admired given the Slavonic pride upon which Arkona are arguably built. Another solid, if unspectacular album, from a band still on the ascendancy at this point.

Originally written for Rockfreaks.net

Looking for music to warm you up after another exhausting day? Russian folk-metallers of Arkona may be a choice for you. Their second album Lepta is another pagan fest preferring spending in straightforward energy what too many bands of the same brand are used to spending in idiocy, meaning, a lot. Surprising little act fronted by a not less surprising little woman, indeed.

Granted, I might a well be clear from the beginning: while Lepta displays the typical Arkona insanity, composition-wise there’s still room for improvement. About the whole album composition first – you’d expect a track called “Epilog” to be the last, right? Though, after this short orchestral piece which won’t add anything to Arkona’s glory, still another track has to be found: a cover of a traditional song with additional metal drumming. Of course the choice of putting it here is understandable, as this tune stands at odd with everything else on the release, as based on a single repetitive melody with slower, slightly grandiloquent, totally clean vocal lines. Don’t get me wrong, it’s a very good track, but more than its odd inclusion at the very end of the album, it’s its inclusion itself which is questionable.

Then coming to the individual composition of the tracks, it’s clear the band hasn’t reached its full maturity yet: songs are less complex, more immediate than on the band’s masterpiece Vo Slavu Velikim, however they surprisingly lack of really memorable moments. The mid-tempo opener is tight from the first note to the last and catchy as hell, later Zarnicy Nashei Svobody is a true epic number in the pure tradition of the Russian folk/pagan scene, but those are the only cuts which will durably stick into the listener’s mind. Not to say there’s anything bad here. It’s fast, it’s crazy, the musicians all show unmatched enthusiasm, most tracks are just lacking of a more consistent cement and are even sometimes bordering on ridicule – like Vyidu ya na Volushky with its upbeat rhythm, backing shouts and whistles. C’mon.

So more than the songwriting, which is undoubtedly weaker than on the following album, it’s Masha Arhipova’s performance which will once again make the difference. Arkona is her band, and she’s willing to prove it – she isn’t only Arkona’s singer, she IS Arkona, plain and simple. From the light tone of the verses of Vyidu ya na Volushky, the warm, melancholic clean chant of the chorus of the opening track, the complete range of shouts and screams, and of course her trademark insane growls scattered all throughout the place there’s hardly a vocal domain she hasn’t experimented with, and succeeded in. The passion is genuine, devoid of any affectation or artifice, making the singing the true driving force of an album which, like most Arkona releases, might otherwise lack a bit of direction. In comparison her male counterpart, though showing a fully honest performance (e.g. Zarnicy Nashei Svobody), just looks common, lackluster, deprived of imagination. No one can be completely perfect though, even our little lady Dressed-in-Fox-Skin, and indeed she fucks up exactly once – with a dubious hiccup at 3:56 in the second track.

For the rest Lepta is one hundred percent typical Arkona fashion, fast-paced metal not sparing of blastbeats laced with flutes, piano, accordion and who-knows-exactly-what-else. But in spite of featuring lots of non-metal instruments and relying heavily on keyboards, Arkona’s strength has always been in keeping the metal at the front of the scene, paradoxically making them sound as a rather un-folk band. As always this can be at first glance misleading to the listener not familiar with their unique brand of epic extravaganza, hoping to find here just another folk metal act - what are these guys trying to prove, indeed? Arkona doesn’t have to prove anything. It’s just a band who seems to take an unrestrictive pleasure in everything it’s playing, and its pleasure is infectious.

Highlights: Sotkany Veka, Zarnicy Nashei Svobody

Though I have seen reviews saying that “Lepta” is not such a strong release for Arkona, it marked a transition for the band. Previously I had always dismissed Arkona as a novelty band with a token female singer. I didn’t think for a moment it would be any good, particularly as there seem to be so many mediocre Pagan/Viking themed bands around. The whole concept of the band just seemed naff to begin with. The first experience I had of Arkona was actually from viewing their Live DVD; “Zhizn Vo Slavu”, after which I bought two albums including “Lepta”. This was one occasion where I was glad to be proven wrong. Such a strong live performance was a great indication of the quality of the studio releases, which I found to be the case. “Lepta” is perhaps more difficult to get into than the later Arkona release “Vo Slavu Velikim!”, but this is not to say that there are not any memorable tracks, quite the opposite. After generally listening to so much Black Metal, the style is a little difficult to swallow at first as it is so melodic & catchy in comparison. However, there are themes running through the music that make Arkona so appealing; traditionalism, nature, heathenism, history, nostalgia, & Folklore (in fact the final track is a Russian Folk song given the Arkona treatment).


Whatever the opinion of this band, it cannot be escaped that the members are excellent musicians. The tracks have an epic, layered quality & are literally bursting to the brim with a bombastic mix of instruments. The riffs are generally heavy, fairly clean & powerfully driven with some great uplifting moments & soaring solos. The addition of Folky instruments such as flutes, accordion, tambourine, & what sounds like an Orchestral style synth/keyboard adds to the generally complex & outstanding compositions. The drums have a slightly Black Metal edge as they maintain a fast tempo throughout & include a few carefully placed blastbeats.


The highlight of this release has to be the vocals. I have never warmed too much to female vocals as they can sound clichéd & lacking in individuality. Masha “Scream” performs her vocal pieces the way it should be done. One of the things that makes her stand apart from other female vocalists (except perhaps Jarboe of Swans), is her incredible vocal range which she performs with an effortless ease. There is a totally crazy change from gruff growls, to clean Folky singing, banshee screams & pagan chanting & her voice never falters in strength. At times Masha’s gravely tones are combined with rough male vocals & heroic cries that are complimentary to her voice. The whole experience is maximum entertainment & full on grandiose theatre. Just like the best Power Metal acts, but without all the pomp & pretentiousness. Unlike other bands in this vein, Arkona maintain a strong character & their songs will imprint on your memory.


It is impossible to compare such an eccentric band with others directly, though I would say this band would appeal to those who follow Slavic bands such as Kroda, Velimor & Oprich who use similar instrumentation/song-writing techniques. Bands such as Varyag, Temnozor, Tumulus, Triglav, Nokturnal Mortum & Krynitza would also sit nicely next to Arkona in any CD collection. Arkona is by far the best band I have heard in the Pagan/Folk Metal genre & is well worth persevering with. It may not appeal at first, but in time Arkona grows on you & you will be well & truly under the spell of “Lepta”.