Sometimes it’s a bit of a dilemma whether to give a band a review on a site that primarily focuses on metal. In the case of the Finnish band Auri, that hasn’t happened yet, but over the years, the name of this project has started to surface more and more frequently. One additional reason to take a moment to discuss this band is the presence of some key figures from the well-known Nightwish, including mastermind Tuomas Holopainen and his wife Johanna Kurkela, who once made it to the final of the Eurovision Song Contest. They are joined by Troy Donockley, also active in Nightwish. The beautiful harmonies and dreamlike soundscapes are certainly present in Auri as well, though metal is entirely absent. Prog-folk, then, if we’re to give it a label.
The album title already suggests that this is the band’s third full-length release; their debut was in 2018. There are, in fact, some differences between this album and its predecessors, this third record leans more towards ambient and atmospheric textures, but it’s not as though the band’s overall approach has changed drastically over the years. The trio themselves have stated that the name Auri is inspired by a character from the Kingkiller Chronicle series by American fantasy author Patrick Rothfuss.
Even without having read the books, I dare say one can form a sense of the epic nature of the music based on Auri’s albums alone. A track-by-track breakdown would be of little use to anyone trying to grasp the essence of this record. Think of the lighter moments from later Nightwish, where the exquisite layering of instrumentation is perhaps the most outstanding feature — and that’s true of this project as well. A kind of Nightwish light, if you will, with certain passages that closely mirror that familiar style (Blakey Ridge stands out in particular).
That said, some tracks feel more tribal, and at times there’s a hint of an Enya-like atmosphere. Or perhaps something more reminiscent of the Japanese artist Kokia. Personally, I find it beautiful, though I do wish the music played more with a sense of tension or menace. As it stands, the tracks can become rather lengthy, and the overall sound remains somewhat tame. Perhaps due to Johanna’s sweet, delicate vocals, which weave the entire album together from beginning to end. In that sense, I might have hoped for a bit more variation.
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