Album Review: Amity by Haven – A Polish Gem from 2010
Alright, let’s talk about Amity by Haven. Released in 2010 on the Polish label Zoharum, this electronic album is a mix of downtempo vibes and IDM brain-ticklers that’ll leave you zoning out one moment and nodding your head the next. It’s like a sonic trip through emotions you didn’t even know you had. The whole thing feels crafted with care, thanks to Marcin Jarmulski handling most of the electronics and programming, while Magda Glocka adds haunting vocals and cello layers. Oh, and shoutout to Maciej Mackiewicz for the artwork and photography—it’s moody as hell, just like the music.
Now, onto the tracks. There are some bangers here, but two stood out to me personally: “Jerusalem Under Fire” and “After The Sunset.”
“Jerusalem Under Fire” hits hard right from the start. It’s got this pulsing rhythm that builds tension without ever losing its chill vibe. Glocka’s voice floats over the synths like a ghost whispering secrets in your ear. You can almost picture the scene—a desert at dusk, maybe? Or just your living room late at night when everyone else is asleep. Either way, it sticks with you. I caught myself humming parts of it days later, which doesn’t happen often unless I’m listening to something truly memorable.
Then there’s “After The Sunset,” which closes the album on a reflective note. This one feels more stripped-down compared to the rest, letting Glocka’s cello take center stage alongside soft beats. It’s kinda melancholic but also weirdly comforting, like looking back on a long day and realizing everything’s gonna be alright. Honestly, it made me want to sit by a window with a cup of tea and think about life for a bit. Not many songs pull that off.
The other tracks aren’t bad either—“THC” has an intriguing groove, and “Great Big Ocean” sounds like what dreams would sound like if they were music. But those two tracks I mentioned? They’re the ones I keep coming back to.
Looking at the credits, it’s clear this was a labor of love. Everyone involved brought their A-game, and mastering wizards Karol Skrzypiec and Krzysztof Stanislawski deserve props for making sure every sound sits perfectly in the mix. Even Michal Brychcy’s guitar work sneaks in subtly, adding texture without stealing focus.
So yeah, Amity. It’s not flashy or trying too hard to impress anyone. Instead, it’s one of those albums that grows on you slowly, like moss on a rock. And honestly? That’s refreshing. Most music these days feels like it’s screaming for attention, but Amity lets you come to it. Funny enough, writing this review reminded me how rare it is to find an album that actually rewards patience. Maybe that’s why Poland keeps pumping out such interesting artists—they’ve got time on their side.
Oh, random thought: If this album had a smell, it’d probably be rain-soaked earth mixed with old books. Just saying. Check it out if you’re into thoughtful electronica that doesn’t rush you.
