Some albums feel like companions. “Larvatus” is one of those. It doesn’t demand attention, it invites it. Osi and the Jupiter have always crafted music that feels sacred, but this time, they’ve stripped things down to something even more intimate. The result is a record that feels like a quiet ritual shared between close friends.
At just under 40 minutes, “Larvatus” is short. But that’s part of its magic. It leaves you wanting more. Not because it’s lacking, but because it’s immersive. Like a dream you wake from too soon. The brevity makes each moment feel precious.
The album opens with “Saged Incantations,” a ten-minute meditation of layered cello and ambient textures. Kakophonix, who literally burned sage while recording, sets the tone with a performance that feels more like invocation than composition. The cello breathes and blurs, creating a space where the listener can simply exist.
From there, the journey continues with “A Dark Carriage Led By Blind Men” and “Passage.” These tracks are slow, deliberate, and drenched in melancholy. “Snake Healer,” the first single, offers a moment of warmth. Acoustic strumming, soft vocals, and a gentle rhythm make it feel like a hand on your shoulder. It’s the kind of song that doesn’t ask anything of you—just offers comfort.
That same intimacy was palpable during their recent performance in Utrecht. Supporting Sylvaine at Tivoli’s Cloud Nine, Osi and the Jupiter transformed the venue into something sacred. The set began with “Fjörgyn” on cello, casting a hush over the seated crowd. They played newer material like “Snake Healer” and the then still unreleased “Lurking Beneath the Pines,” each piece unfolding like a slow ritual. The audience drifted through Appalachian landscapes during “Mountain Shamanism,” “Appalachia,” and “Folk of the Woods.” The hour passed like a dream. “Baldur” closed the set with haunting cello strains, and the standing ovation that followed felt more like collective gratitude than applause.
The second half of “Larvatus” deepens the introspection. “Wild Host” and “I Am The Howling Mountain” are sonic landscapes. Windswept, sparse, and haunting. Elyse Hirsch’s contributions on vocals and bass add subtle but vital depth. Her presence on “I Am The Howling Mountain” is a highlight, grounding the track with melodic counterpoint and emotional weight.
“Promethean Gallows” closes the record with piano and ghostly vocals. It’s a slow descent into silence, a final breath before the ritual ends.
The title “Larvatus” itself adds another layer of meaning. Derived from Latin, it can mean “masked,” “bewitched,” or “possessed by a spirit”. It evokes the idea of hidden identity, transformation, and spiritual presence. All themes that ripple through the album’s soundscape. The music feels like it’s wearing a mask. Not to conceal, but to reveal something deeper. Each track is a veil lifted slowly, inviting the listener to confront what lies beneath.
In interviews, Sean Kratz described “Larvatus” as a spiritual journey. “I wrote this music for me,” he said at Fortress Festival, “but if it helps others, that’s even better.” That ethos is felt in every note. There’s no ego here. Just sincerity. Just sound and spirit.
“Larvatus” isn’t for every mood. It demands stillness, attention, and a willingness to feel. But if you give it that, it gives back tenfold. It’s a quiet triumph. An album that doesn’t shout, but resonates.
Score: 9/10
Label: Eisenwald
Genre: Neofolk / Ambient
Release date: July 18th, 2025
Reviewer: Michael
Tracklisting:
- Saged Incantations
- A Dark Carriage Led By Blind Men
- Passage
- Snake Healer
- Wild Host
- I Am The Howling Mountain
- Promethean Gallows
