Utilising the early Old High German dialect (popular around the ninth and tenth century) instead of their modern mother-tongue, Wintarnaht propose an interesting concept before even striking a note. Styling themselves as “archaic pagan black metal”, this nonetheless has an air of progression about the musicianship. Though the band has previously consisted multiple members, this fourth full length is the sole work of Grimwald (known for his work with mining-fetishist duo Dauphz).
Though most of the nine songs hover around five or six minutes, the title track is 11 minutes long, opening the album with a melting pot of raging break-neck tremolo riffing and screechy vocals. Amongst this traditional black metal fare are spiralling melodic leads and folkish chants. This effective sprinkling of soaring, chanting clean vocals throughout the album delivers fantastic atmospherics, with “Urlagfrôwa” and “þez Hraban Swarzi Trahanûn” in particular capturing the imagination.
“Hruiwa” benefits immensely from riffs that are allowed to breathe, a spacious drum sound, and organic bass that sits nicely underneath the wall of guitars. Songs are also augmented with sparing use of acoustic guitars, choral voices and other folk elements. “Firhazzêt Truhtîn” is notable for its use of keys and the juxtaposition of chanting and howling vocals, whilst “Runagaltar” closes the album with haunting layered synths underpinning a mix of raspy and soaring clean vocals.
Wintarnaht is clearly a project that draws influence from many elements of the black metal spectrum, crafting them into a unique rewarding sonicscape that should satisfy both traditional and progressive black metal fans alike.
(7.5/10 Doogz)
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