Germany’s Lebensnacht has been a prolific black metal entity since releasing its first split in 2012. Its previous album, 2014’s ‘Uudelleensyntynyt ikuiseen pimeyteen’, was even preceded by not one but two full-lengths in 2013. Having left a hefty two-year gap between releases, the band’s latest creation ‘A Raging Storm of Apocalypse’ definitely looks the part with its striking artwork; the reds, greys and blues implying a depth to the band’s vision beyond its inherent blackness. Seemingly a duo for the first time, founder Robert Brockmann having been joined by drummer Martin ‘Lord Skull’ Krell, album number four is therefore somewhat of a benchmark in the band’s history.
‘Dark Clouds Gather’ beckons us into the album in ominous fashion via its windswept brooding opening. Once the music does hit, there’s no mistaking Lebensnacht’s biggest influence as low-fi early Burzum styled material defiantly erupts forth. The pace corresponds to that band’s metallic efforts, as do the screamed, tortured vocals and – as if to drive the point home – we even get the kind of strangely innocent sounds that made ‘Dunkelheit’ such a memorable composition. In terms of Lebensnacht’s individual qualities, there are some interesting chord progressions, not to mention an effective piece of acoustic/narrated work which equally brings to mind the paganism of Bathory. The pace, conforming to the Burzum style, never really goes over the top at any point. In this respect, the likes of ‘The End Is Near’ can best be described as brusque and it’s rather consuming atmosphere that the band prioritises as it shifts from corrosive grimness to strange eeriness.
The most evocative moment for me is the start of ‘The Storm’, which immediately transports the listener to that tumultuous scene of the album’s cover. While there’s obviously nothing fancy or groundbreaking due to the band’s adherence to true black metal, the music rarely becomes dull or overly predictable and moments like the emotive lead part at the end of ‘From Fire to Ice’ are actually really cool. Likewise, where there is an unavoidable debt to Burzum, those twisted melodic tendencies that rise through the filth on ‘Frostbitten Ashlands’ are undeniably infectious. However, a key aspect – one that can make or break this type of orthodox black metal worship – is the drumming, and in the case of ‘A Raging Storm…’ it’s executed well throughout yet the one sticking point as the album continues is the increase in clattering cymbal work. Unobtrusive for the most part, by final track ‘Into Cosmic Eternity’ its hissing predominance is an absolute pain in the ears.
Overall I’ve got mixed feelings about ‘A Raging Storm of Apocalyse’. On the one hand, there’s a lot I admire about the way Lebensnacht builds compositions and, in particular, the way in which each one subtly changes tack. On the other (as exaggerated a reaction as it may seem), the irritating manifestation of those cymbals over the last few tracks detracts from the experience as a whole. Granted, the sound is natural and undiluted but it simply becomes too much for my taste. This is a shame as during the final songs – as with the preceding material – the music still emanates rancid black metal charm. Anyone into such orthodoxy should definitely give it a go.
(6.5/10 Jamie)
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