Thursday, June 19, 2025
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Label: Gutter Prince Cabal

Release date: June 23th, 2025

From the mist-shrouded fringes of Brisbane’s underground, Deciduous Forest presents “Fields of Yore”, a breathtaking debut that invites you into a world where atmosphere, emotion, and memory converge. Created by Australian multi-instrumentalist Snjór, this one-man project unfolds like a forgotten myth. The music feels both timeless and fragile, filled with moments of quiet grandeur and aching introspection.

The cover of “Fields of Yore” sets the tone for the album before a single note is played. Rendered in layered shades of deep black and muted gray, it portrays a dense, shadowed forest shrouded in mist. The fog hangs low above the treetops, blurring the horizon and dissolving the boundary between earth and sky. It gives the impression that the landscape itself is breathing out centuries of forgotten memory. There is a timeless stillness to the image that evokes a place suspended between myth and history. Like the music it accompanies, the artwork conjures an atmosphere that is both haunting and sacred. It quietly beckons you to step into the past and listen for what remains unspoken. The photograph was taken by Snjór, with layout by David Mir and a logo designed by Luke Mills. Each visual element reflects the same careful intention and emotional depth found in the music.

“Fields of Yore” is not just an album. It is a journey through the inner terrain of longing, reflection, and distant remembrance. From the opening notes of “The Formless Dark”, you enter a soundscape where melancholy and majesty coexist. Soaring synths rise like mist through layered guitars, while impassioned vocals guide you deeper into a place that feels both ancient and deeply personal.

With “Ghost of Lies”, the atmosphere grows heavier and more sorrowful. The nearly ten-minute composition moves slowly but deliberately. It unfolds like a confession whispered across years. You can feel the tension between dissonance and melody, and between what is remembered and what is lost. Snjór’s pacing never falters. Each passage breathes and builds with emotional precision.

The title track, “Fields of Yore”, stands as the album’s heart. Spanning over twelve minutes, it shifts between gentle neofolk passages and surging blackened intensity. The track carries the weight of memory and the hush of landscapes left behind. Silence is used with intention. Every swell of sound feels earned. You are not simply hearing a story. You are inhabiting it.

“Ages Past” continues with a sense of slow, towering reflection. The song is patient and expansive. Its textures wrap around you like weathered pages from an old journal. When the final track “Anemoia” arrives, it does so with quiet grace. Its soft ambient tones and restrained melodies offer a gentle farewell. This is the sound of a dream already beginning to fade. It leaves you in that strange place between sorrow and peace.

The album’s sonic depth reflects the care that went into its creation. All music and lyrics were written by Snjór, who also performed vocals, bass, guitars, and keyboards. Drums were performed by Chris Chapman. Drum editing was handled by Snjór and Adam Merker. The recording took place at Anders Debeerz with Adam Merker, and mastering was completed by Chris Themelco at Monolith Studios. Each contributor brought a distinct sense of precision and atmosphere to the final work.

“Fields of Yore” speaks to emotions you might not have known how to name. It is filled with sadness, but also with awe and a rare kind of emotional release. Snjór has created something that feels deeply intimate, yet its resonance extends far beyond the self. The music meets you where you are. It asks you to remember what you have lost, what you have carried, and what still echoes inside you.

Rather than revisiting familiar ground, Deciduous Forest creates a space that feels entirely its own. This is music rooted in memory, yet always reaching beyond it. “Fields of Yore” lingers long after the final note. It does not fade quickly. Instead, it remains with you like the scent of rain on old earth or the feel of footsteps vanishing into ancient soil.

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I was born in Zagreb, Croatia, so long ago that my first camera might have needed a crank! Even as a kid, I was obsessed with details, turning our cats into unwilling supermodels and forcing my family into dramatic portraits they never wanted. In high school, I ditched the cats for metal bands, earning the prestigious title of that weird girl next door. Somehow, I ended up in the top ten of Women Behind the Lens, but my keen eye led me to a master’s in accounting and finance. By moving to Germany, my weirdness has finally found its niche somewhere between tax codes and flying drumsticks!