Digipak with embossed band logo.
Seven years ago, the last release from the Thuringian band, a split CD with Odal, hit the market. However, the last thing I have from them is the "Vor Walvaters Thron" album. And back then, the sound was truly raw. Clanging guitars, typical of underground black metal, were paired with folk influences that were equally unpolished. But the whole thing had an intensity that made it unforgettable, and still does.
On their new album, "Nornenwerk," the brutal guitars have receded considerably into the background. You immediately notice that the band's main focus is on acoustic guitars and clean vocals. Beautiful female vocals, strong male choirs, flutes—everything a folk music lover could desire is on offer here. Drums and electric guitars haven't disappeared entirely, though; instead, they lend power to the tracks at just the right moments.
These brutal guitars have taken a backseat on the new album, "Nornenwerk." Some songs, like "Hundlingstöter," even pass as true black metal, although they also incorporate many influences from the main genre.
Anyone who fears that "Nornenwerk" is a purely relaxing, if not downright soporific, album is mistaken. As with "In finstren Tannengrund," the band is happy to push things forward with a whip. This variety between beautiful, harsh, and fast tracks is what makes the album truly worth listening to. It's also superbly produced, which is unfortunately often not the case with this type of music.
However, I doubt that there are too many music lovers who would enjoy a truly brutal track like "Kriegslied" as much as the beautiful and harmonious "An die Heimat," which follows immediately. They've certainly found someone like me.
Sample: youtube.com/watch?v=8zGX-18SA-k&t=902s
