Album Review: Efterklang - Piramida

The heightened level of sophistication and class in Piramada – that wasn't necessarily lacking from Efterklang's previous records – is indebted to the rich orchestral and choral arrangements, a new direction taken by the Danish trio.

Album number four kicks off with the mantra-esque intro of Hollow Mountain. Casper Clausen's ethereal “do it”'s up against the soft brass and rhythmic glock droplets produce the exact same warmth that the marvels of nature bestows on you. Black Summer's male/female vocal layers channel Sufjan Stevens circa 2005 and are reminiscent of Efterklang's earlier work on Parades (2007). Their latest single, Apples, in all its brassy glory, is undercoated with the band's pop sensibilities, whilst the chilling intro and outro of Sedna – a combination of field recordings (distant yelling in open spaces) and ambient orchestral trills – evokes a feeling of antithetical duality between power and vulnerability, further augmented by Clausen's Bon Iver-esque falsetto revelations.

The purpose of this record is twofold; a) to act as an album, and b) to act as a foundation for their live show, which heavily incorporates a live orchestra. Having initially experienced these songs live during Vivid Sydney – where the band debuted the record – every single fragile moment, every single brass interjection was amplified by a million, as was their authentic and genuine nature as artists, all of which makes listening to the recorded material a reminiscent experience on its own.

Piramida is a masterfully composed and produced record. No moment is left unheard - echoing near, far and into the distance. Efterklang have been known to be one of Denmark's greatest music exports, and this record is no exception.