Those of you that are regular readers of Infectious Magazine know that our reviews often entail the various types of rock, metal, punk, indie, and as a more recent venture, we’ve added pop to our lineup. But every so often (and I usually jump on these as quickly as possible), we have the pleasure to review music that doesn’t really fit into any one of those genres. Hannah Thiem and her newest album, Brym is amongst the latter.
Brym (pronounced “Breem”) is Thiem’s first in her solo career; she had founded avant rock group Copal, and also created Nyxyss, an ambient electronic project. A combination of electronica and orchestral sounds, Brym reminds me of the time I spent in Scotland and Ireland, with an almost celtic, pagan feel that resonates through the music. While there are vocals throughout the album, they are minimal, and I feel Thiem would agree with me when I say that she lets the violin and other instruments/sounds speak for themselves. It is a powerful and dynamic album that has the ability to seep into your soul in ways only orchestral and electronic music can.
As I listened to the album, I tried to pick out a possible favorite, something I often do with music (which I know you do too, so don’t act like it’s weird). However, it was shockingly hard. Listening to Brym repeatedly, really focusing on the notes played and the few words sung… Ultimately, plucking a favorite from the lot was a task that could not be done. I loved every track on this album, especially the more I listened to them. The dark electronic tonality unified with the rich notes of the violin, as well as the beautifully expressive voice of Hannah Thiem herself are perfect for fans of classical music and electronica alike.
I was bummed when the five-song Brym concluded. I would absolutely love to hear more from Hannah Thiem, even if that means finding and listening to Copal or Nyxyss until her next solo album comes out. Fingers crossed for a full-length album!