Niels Vejlyt is a Danish guitarist who has spent many years of his life practicing with the guitar, this is a simple deduction based on his work. In 2006 he released the album: THE PREDATOR, letting us hear a neoclassical shred style that can only be interpreted when the musician sows countless hours of practice with his instrument.
Since then, the guitarist has released three other albums. STHENIC (2011), CONCERTO (2017) and THE SWORD OF ANCIENT MYTH (2018), the latter is the only work to date that has included songs with a voice, inviting the mythical Mark Boals, who alternated with the Swedish David Åkesson and the Danish Søren Nico Adamsen.
Even though the incursion of voice in his songs was a very successful step, Niels Vejlyt decided to put it aside and in May presented his new album entitled: OPUS ABSOLUTE (2021), the most extensive work to date with 19 pieces, although many of them do not exceed three minutes in duration.
Technically we hear a guitarist completely connected to his instrument. He is again accompanied by Jakob Vand, a drummer who has appeared in all of his works to date. The bass was in charge of Nikolaj Skovdal Sønder, although Bernardo Fesch participated in the piece “Symphony of a lost world”, the longest of the entire album with 11 minutes long.
There are impressive pieces that will make the genre lover hallucinate, such as “Étude IV”, where violin and guitar escape to another dimension. The interesting thing is that Niels Vejlyt does not stagnate in speed; he has the great success of reducing it and going to progressions and harmonies that, even without being devastating, keeps the compositional level at its highest.
Even though the name of this album suggests that we should be looking at the most important work of this composer to date, the truth is that the absence of guest singers makes us continue to remember his previous work more fiercely.
However, Niels Vejlyt has achieved a great job where he expresses with great quality not only his enormous technical level but also his great compositional sense, a balance that very few musicians manage to print successfully.