Evermind reviews:

Raves.com
by Kristofer Upjohn

While every bit of what makes Amethystium music Amethystium is throbbing through this elite offering of chilled electronica, one can detect a little evolution and experimentation with some new sound. Even in the midst of what can now be safely classed as classic Amethystium, one notices different flavors being slowly injected into the mix. As usual, the melodies are [insert synonym of choice for overused adjective "lush"], full-bodied, enveloping. The beats are laid back but gripping and the ambiance is, well, stunning. Amethystium's music is so rotund and encompassing, so three-dimensional, it's easy to see why the man behind the music, Oystein Ramfjord, said Amethystium is about "creating and exploring some kind of 'musical fantasy world' ..." Because that's exactly what it is for the listener. One can place one's self between headphones and, in the end, be placing one's self in a wormhole that transports you off to a world of euphoria and utter beauty, populated with gentle creatures not of this earth. Actually, euphoria and utter beauty are maybe the perfect words to describe Amethystium's music, especially on the new release, Evermind.


About.com
by Dustin Michael

A great trilogy is now coming to an end; a trilogy that has taken us across extraordinary lands where fantasy meets the distant imagination, and the days and nights intermingle within dreams of the subconscious. If you didn't know any better, you might think I was referring to Lord of the Rings or a similar literary and/or cinematic feature. But because this is a music review, which in fact it is, I should divulge to you the subject of my declaration.

Amethystium's "Evermind" is the 3rd installment in the "Dragonfly Trilogy" series from Norwegian composer Oystein Ramfjord. Much like the fantastic worlds that fill human mythology and literature, Amethystium is brimming with wonder and gorgeous splendor. I dare not make the attempt to classify Ramfjord's work into specifics, but I will say that Evermind is the most emotional and thought provoking New Age release of 2004. The soaring heights of the album's cinematic soundscapes are paired with the intelligent electronics and synthetic artistry that ties the entire trilogy together. I quite find Evermind slightly more eager to delve into throbbing backbeats newly paralleled with the brilliantly ambient arrangements found on earlier works.

Ramfjord's understanding of composition is uncanny and his imaginative spirit moves uncompromisingly throughout his arrangements. From the opening of the album with Arcus, the listener is transported into Amethystium's otherworldly realm of fantasy and emotion. Moving over the rolling landscapes of eternal progressions and soul inspiring melodies, the voyage introduces us to a variety of sensational environments and atmosphere. We move through the darkness and fragility of Shadowlands toward the rising of the brilliant sunlight in Break of Dawn; Ramfjord is able to accurately communicate his most thoughtful intentions and deepest passions for all to share and marvel.

The Dragonfly Trilogy is an obvious triumph for the composer, but I do feel that Ramfjord views Amethystium as a passage that has now come to a final conclusion, and a new chapter in the artist's life is just beginning.


Wind and Wire
by Bill Binkelman

The man behind the "Amethystium" curtain is Norwegian artist Øystein Ramfjord and he has released yet another solid album on Neurodisc Records (this is his third). He continues to refine, polish and subtly evolve his highly successful "formula" (although I'm loathe to use such a term) of chill-out rhythms, lush synths, evocative chorales and female vocals, and a level of sophistication and accessibility that makes his music nigh impossible to resist. Combine all that with perfect engineering and production quality and you are looking at an album so enjoyable that finding fault with it is more an exercise in nit-picking superficiality than anything else. As if that weren't enough, the packaging of Evermind is gorgeous, as the digipack contains an insert with some gorgeous nature photography (by Fred Strømme).

Obviously, if you have never heard Amethystium's music before, think Enigma's first CD and now make it about five times better, leaving behind the excess that Michael Cretu (i.e. Enigma) is guilty of, and also increase the synths and beats while leaving out the annoying electric guitar histrionics that eventually crept into Enigma's music. Okay, you're getting close to how good Ramfjord plies his trade. What continues to astound me his how he keeps getting better by adding new elements yet still retaining his signature components. I'm sure some critics will dissect Evermind and try to turn it into something manufactured, as if it was only a product. But, having had some email correspondence with the artist, I am convinced this music comes from the artist's creative soul, so if it sounds too commercial or "poppy" for some people, well, tough shit! Sometimes "good" music sounds "good."

And boy, does this sound good. I was hooked when, on the opening track ("Arcus"), after a brief haunting vocal and synth prelude, the beats and refrain are introduced almost from afar, and when the real rhythm tracks and lush strings crank in, well, it's one of those "omigod" moments, made only better when Lee Nesbit (of Animus Mundi) weaves her sultry vocals into the mix. If this music was a sirens' song, I would be dashed on the rocks, for sure!

Fans of previous Amethystium recordings, have no fear as there are plenty of hook and beat-laden tracks here to get your blood pumping, such as "Into The Twilight," with those characteristic high hat, snare, and bass rhythms, this time with the addition of mournful synth cello textures (wonderful touch, that!). "Shadowlands" is appropriately eerie at the start, with subdued shuffling rhythms underneath whispery female vocals before evolving into something much more forceful and seductive with an increase in beats and the emergence of Nisbet's vocals (in some ways, I think Ramfjord's music is moving in the direction formerly inhabited by his fellow countrymen/women Bel Canto, i.e. a kind of icy cool synth pop anchored by sexy female vocals).

From the insistent urgency of the shimmering synths, digital piano, and glitch-esque beats of "Innocence" to the cheery chill-out vibe of "Barefoot" to echoes of church organ and neo-classical string textures on "Lost," Evermind is ear candy of the best kind, filling and delicious. Any criticisms I would make would be minor, although "Reverie" is a weaker song than everything else here. It just struck me as not up to the standard maintained by the other eleven tracks. Even with that one flaw, Evermind is one of the best chill-out/electronica albums of 2004 and serves to show that Øystein Ramfjord/Amethystium hasn't scratched the surface of what he is capable of doing in the studio. Apparently, the man has no end of hooks and beats to call forth from his artist's soul. Well, I, for one, hope his well never runs dry. Evermind earns a highly recommended from me.

Solo Piano Publications
by Michael Debbage

This represents the third release from the impressive Norwegian artist Oystein Ramfjord also known as Amethystium. Certainly 2002's striking Aphelion helped him evade the sophomore slump. Meanwhile, Ramfjord continues to explore the effective use of drum loops and tribal percussion embellishments with his eerie and atmospheric keyboard arrangements.

According to the press release from the label this is the third installment in the "dragonfly trilogy". With the exception of a dragonfly illustration on each album cover this reviewer is not sure to what extent this dragonfly theme plays out either lyrically or musically. However, the musical theme of ambient grooves with spiritual atmospheric layers intertwining with each other makes for another warm and interesting presentation which makes Ramfjord one of today's prominently accessible ambient artists.

In relation to its predecessors, Evermind while engaging is a little less energetic but does not detract from its charm. In fact, by being a little more reflective it allows the artist to extend his musical horizons giving the album a little more personal touch despite the continued extensive use of drum loops and keyboard superfluities. "Into The Twilight" plays this effect out magically with the luscious warm touch of the cello. Whether by keyboard sampling or the real thing the results are the same.

Ramfjord continues to explore more mellow meanderings and this is best illustrated by the awakening themes via the gorgeous "Break Of Dawn". There is no question that this is the album's finer moment. However, "Imaginatio" comes a close second where Oystein continues to make effective use of vocal chants. The vocal work, though never generic, is not overstated and always compliments the instrumental arrangements rather than being distracting.

What now remains is where Ramfjord goes from here. With an apparent trilogy completed one might expect a change in musical direction. Considering the talents of this artist the fragile theme explored on "Break of Dawn" could be a musical avenue to further explore. Ignoring the future expectations, Evermind continues Oystein's present perfect batting average of success stories.