An EP of oscillating moods and textures – but still all clearly closely related to each other – Amber is a folky, meditative set of songs. The musical mononym of German multi-instrumentalist Jonas Axt, MacFarmlin has been a thing since 2021. Those years of experience bleed through into his work, with his newest EP coming across as a fully formed, wonderfully realised work of art.
Opening with Alaska, which is the biggest, rockiest song here, it begins with a lone brass instrument – a trumpet perhaps – which is soon joined by an early Bon Iver-esque acoustic guitar and a solitary baritone vocal. It stays sparse for around the first minute before the full complement of instruments kicks in. When they do, it feels ragged and kinetic, spirited and earnest – the instrumentation is upbeat as the vocal style shifts between Justin Vernon, Jack Steadman and something else entirely.
The second song – When Did Your Heart Strand – has a gentle tone and feels structurally not too dissimilar to the first. Initially, an acoustic guitar is strummed rhythmically, accompanied only by those same low, dulcet tones. In time, it slowly unravels and becomes increasingly frantic and desperate, a sensation echoed by the “I need you now, I need you now” lyrical refrain, before eventually reaching its epic conclusion.
Collide is tender and measured as it begins. Piano and voice are complemented by some beautiful atmospheric sounds, incidental background ambience, and bass, but make no mistake, the piano and the vocals are the stars of the show. A bit like James Blake at his most reserved – this is an impressive exercise in restraint – never becoming overblown but always threatening to. Reminiscent stylistically of Loney Dear as well as, in certain moments, the minimal, impactful nature of Billie Eilish’s “When The Party’s Over” (which was, of course, written by her brother Finneas), it is a stark, beautiful piece that feels tonally bittersweet and both epic and intimate at the same time.
The title track is up next. The artist gave us a bit of background on it. He said it “describes the fear I feel from time to time when I leave the house, especially when it’s dark. In the years leading up to this, I had a few unpleasant encounters that led to me developing an anxiety disorder”. To us, the song feels tense, ominous and foreboding. Although, in fairness, this could be because we’re listening to it having already learned what inspired it. We’re again reminded a bit of the work of Bon Iver – specifically the tone of early favourite Blood Bank – indeed, an artist whose impact on shaping the modern musical landscape – especially in the sort of arena in which MacFarmlin operates – can’t really be overstated.
The Temporary Madness Of Being is a folky, traditional-feeling lament with its soul rooted in the assembled array of acoustic instruments. Rhythmic and gently lilting, it sways along merrily and is really quite satisfying. Part Fleet Foxes, part Midlake, this is probably our favourite song here. A special mention should be made to the violin, which adds a lovely bit of dynamic variety and tonal change.
Closing tune 169 Avel reminds us of David O’Dowda – specifically his song Think Of Me. It’s cautious in its approach, measured and guarded. This could well be down to the subject matter. Jonas explains that the song is “the story of a place where I once lived, a place tied to painful memories of past relationships and friendships. I believe that place showed me that you don’t always feel mentally well. Thinking about that place is healing, melancholic, but also very painful.” One of the EPs standout production pieces – it feels like a whisper through a megaphone. Tender and hushed, yet grand and self-assured.
Recorded primarily in his home studio in Osnabrück, in northwest Germany, the record has a deliberate, intimate, live feel. Organic and warm, this is like wholesome, energising comfort food for the ears.
MacFarmlin will soon be releasing a documentary on the creative process and development of the EP, which will feature making-of footage and behind-the-scenes insight – keep your eyes peeled for that.
Written by Kinda Grizzly
