This is a sixth album by this astoundingly good German atmospheric black metal band and like others acts in this field their ability to create palpable feeling and tangible emotion is breath-taking. It is also their second concept album, following ‘Femundsmarka – Eine Reise In Drei Kapiteln’ released some ten years ago. Conceptually it focuses on issues related to home, hence the album’s title of ‘Dahoam’, and also, all the songs are sung and have lyrics in the Bavarian dialect. Within the seven tunes here we get three gigantic epics and a flurry of shorter tracks, each offering their own unique take on the burgeoning atmospheric black metal sub-genre.
Opener ‘A Taglachinger Morgen’ is a few minutes of acoustic guitar, deftly played and immersed in a soporific attitude, ambiently delivered with background nature noise of birds etc, that sets the album up perfectly for the first epic, ‘Im Ebersberger Forst’ which smoothly filters in with a beautiful melody and more backing noises before the song erupts with a half blasted assault yet retaining that melody I mentioned, as it dances along the mix very delicately. With harsh vocals being mixed with pagan like backing chants the song revels in its magisterial qualities, as each passing minute adds layers upon layers of emotion and grandiose passion that fans of Imperium Dekadenz will wholly relate to. As the song progresses, subtle clean vocals are inserted alongside a fine acoustic segue as the song builds back with brilliant clean vocal elements.
‘Am Stoa’ flows in neatly with a melancholy aura and that sense of sorrowfulness, creating a bridge that links into the next epic ‘Am Tatzlwurm’. Surpassing double digits in duration the song begins with atmospherics again and acoustic guitar, that is accompanied by light guitar riffing possessing a desolation before the detonation to blast beat speed. Again, the band’s ability to construct such profound solemnity even though the song blasts along is eloquently done, as the harsh vocals add their own caustic vibe right before the song switches speed, dropping it substantially as it leads into an ambient sequence seamlessly executed. With percolating guitar work dripping from the mix, you are surrounded by morosity as the song builds back supremely for its finale.
Bridging into the next colossal tune is ‘In Da Fuizn’, a song that bristles with post-black guitar work, before it unveils some moody metal riffing generating a depressive ethos but utilising clean vocals too. ‘Mim Blick Aufn Kaiser’ opens with more nature noises, but uses a mournful riff and a fabulous backing vocal with its pagan like traits. There are similarities to Winterfylleth here, as well as Panopticon to name a couple of acts, as the song explodes with blasted drum work and embittered vocals. Again, the clean vocals add their own vast layer of texture as the song shifts into a melodic piece that really catches the ear. Unlike the other epics here, the ambient piece is minimised, preferring to add it briefly before returning the atmospheric black metal fury. There is something about this song that sent shivers down my spine, whether it’s the clean vocalisations, the uplifting drama or the just the sheer emotion of the riffs I’m not certain but I’m in no doubt that the song is magnificent and leaves the album to close with ‘Am Wendelstoa’.
The closer continues the rich vein of riffing already laid down, opening with acoustic guitar that develops with clean vocals. The lovely change to a folk like posture is excellent, as the song carries you away stunningly towards the climax, making this album wholly essential to atmospheric black metal fans. Stunning album!
(9.5/10 Martin Harris)
Leave a Reply