Flammentriebe

I thought this album would never happen.

After the entertaining, genre-pushing albums Bitter Ists... and Her Von Welken Nachten, this mighty band took a turn towards the ethereal and ambient pastures that melded well with their style, but left me wanting to some degree. While I could certainly appreciate Hexenwind and Durch den Traum with their slightly shoegazey, thoughtful repetitiveness and slow build into subtle melodies, they had lost some of the life and verve that the earlier albums had. WIth In Luft Geritzt, I had almost abandoned hope.

Three years later, out of nowhere, comes Team Dornenreich with an album that fires on all cylinders: an amalgam of their most aggressive black attacks, and the most thoughtful, melodic sections they are known for (which have more impact here than in recent albums due to their careful placement within songs). They kick off with one of the most intense, attention-grabbing songs they have written in years (Flammenmensch) that blows you away after a brief semi-acoustic lead-in. This is the first song released before the album, and what immediately grabbed me was the completeness it had: the melody and flow of Bitter Ists..., the aggression and dynamics of Her Von Welken..., and the control and atmosphere of their later albums. And the production... WOW! It's amazing how what is easily the best sounding album they have released can highlight the aggressive riffs and dynamic shifts that the other albums had, but did not display like this one does!

Other highlights, in my opinion, are the long centerpiece Wolfpuls, Fahrte der Nacht, and In Allem Weben (my favorite, which encapsulates all I love about this album). I love the vocal delivery in Fahrte der Nachte, and though I am not fluent in German, the storytelling is evident, and conviction is very appealing. This song will definitely appeal to those who loved the Her Von Welken Nachten album. In Allem Weben is the most well-rounded song, with good pace and black metal aggression, along with killer dissonant riffs supported by violin in a way only these guys can pull off. Easily a top Dornenreich song for me. These three songs contain the off-kilter riffing, dynamic vocal attack and unpredictability that I always have enjoyed from this band. They also exhibit the melodic beauty they are capable of, which never comes across as trite or radio-friendly, but embody what black metal can be - the duality of beauty and darkness. The final reflective piece, as another reviewer mentions, has some Agalloch qualities (mostly Mantle-era), but remains distinctly Dornenreich, and finishes the album in a thoughtful manner.

My score reflects the songwriting quality, the sound/production (their best ever), the way they captured all the Dornenreich elements expertly, and the enjoyment factor. I only felt the need to knock off a few points since a couple tracks tend to lose my attention a bit, as they lack a bit of the elusive memorability factor (though are still completely enjoyable to listen to). However, I do disagree with another reviewer about the vocals. I feel that this is the best showing Eviga has ever had, being balanced in his delivery but still displaying his characteristic dynamic, almost eccentric style that differentiates him from a crowded field (and obviously alienates some people that might be less familiar or less flexible in their tastes). His ravings seem to fit the music much more closely now, while one could argue that his earlier efforts felt a little more forced.

I only wish that this album was their swansong, as I have heard some rumours that Freiheit may be their last (though I hope not). This album got right what Freiheit couldn't quite pull off, as it ventured back towards the acoustic/ambient realm a little too far for my tastes. In summary, I think this is my favorite Dornenreich album, next to Bitter Ists dem Tod zu Dienen. Even the album cover hearkens back to the lone, monochromatic figure against an atmospheric landscape that resembles the covers of all my other favorite Dornenreich albums that got the marriage of aggression and subtlety right: Bitter Ists..., Her Von Welken Nachten, and Durch den Traum. Give this one a try if you ever enjoyed the metallic side of Dornenreich, but had given up on them in recent years.

Pagan metal is not a genre I devote a great deal of time to, but I have been making a rewarding effort to become more familiar with it. The Austrian band Dornenreich was one of my first exposures, with their very unusual (extremely soft but with harsh vocals) Hexenwind. Flammentriebe cements them as one of my favorite pagan metal bands, if not the overall favorite.

The music is based around dynamic contrast between softer acoustic-oriented parts, usually with whispered vocals, and harsher black metal parts, usually with emotional yells and screams. It's a simple and cheap enough formula which has been used many times, but rarely has it been done so convincingly.

Credit for that goes to the violin, which ties both halves of the music together. Its morose qualities also enhance the emotional effect of the vocals. But the band is not set apart solely by their mastery of the formula. The guitar style mixes open chords and muted chords together to make for a distinctive style, best represented by album standout "Wolfpuls". The fact the lyrics are in German, of course, adds immensely to my enjoyment, enhancing the Old World aesthetic of the folk-inspired melodies.

The Verdict: From the acoustic introductory passage of "Flammenmensch" to the Agallochian "Erst deine Träne löscht den Brand", the record is full of memorable music that has emotional impact. Flammentriebe is an early contender for my list of the best albums of 2011 that I didn't hear in 2011, and it makes me want to look deeper into Dornenreich's back catalog.

originally written for http://fullmetalattorney.blogspot.com/

The Austrian band Dornenreich has a solid fifteen years of black and folk metal under its belt. There are some impressive works the band’s discography, like the symphonic "Bitter Ist's Dem Tod Zu Dienen" and the progressive "Durch Den Traum." However, their best work to date was 2008’s stunning acoustic album "In Luft geritzt," arguably the best neo-folk album since Ulver’s "Kveldssanger." It appeared that the band had found a new direction. Well here’s a surprise: their latest release, "Flammentriebe," is an emphatic and aggressive return to metal.

"Flammentriebe" is the heaviest and most hostile Dornenreich album to date. The increase in testosterone starts with a stronger emphasis on Eviga’s vocals. That’s not good news. While Eviga’s enchanting whispers have long been an integral element of Dornenreich’s sound, his “extreme” vocals have never been a highlight. Truthfully, Eviga is not an extreme metal vocalist; he’s just a yeller and a fairly annoying one at that. In the past, Dornenreich has circumvented that problem, either through using another vocalist or by remaining mostly instrumental. However, on "Flammentriebe" Eviga yells his brains out for most of the album.

Another problem is Eviga’s hard hitting riffs often clash with Inve’s violin passages. There are some impressive moments of coherence (i.e. the dramatic culmination of “Wolfpuls”) but far too often the songs suffer awkward clashes as the two musicians fail to find a balance. Violin can work in metal when used correctly (for example, the first few My Dying Bride albums) but if you’re trying to kick someone in the face, leave the string section at home.

On the positive side, there are still excellent acoustic passages scattered throughout the album, mostly at the beginning and end of songs. In these moments the band still sounds top class—too bad they regulated their best material to the limits of the compositions. There is also the instrumental closer, “Erst Deine Träne Löscht Den Brand.” Much more moody and reflective than the rest of the album, the final track travels through gorgeous acoustic passages and cathartic jolts of metal, integrating the violin and guitar beautifully.

Though there are a few bright spots, this is probably the weakest album in the Dornenreich cannon. There are simply too many awkward moments and uneven passages throughout the recording to make it worthwhile. Fortunately, this is a band that likes to change style from recording to recording, so there is hope that this heavier, more brute sound will be abandoned on the next recording. If, however, this album marks a permanent change in direction, then "Flammentriebe" could be the beginning of the end for Dornenreich.

(Originally written for http://www.deafsparrow.com)

Dornenreich came back with a vengeance here, especially when they started to stagnate a bit in my opinion. Here there are lots of fresh ideas, and the songs are well thought out and sound just beautiful. Instead of a depressive folky whispered album such as I.L.G., they expertly blended folk elements in with metal, and created a seamless instant classic of an album.

First and foremost, the musicianship is quite amazing here. I have a feeling Jochen Stock is the driving force regarding creativity and songwriting (taking a gander at his side project Angizia says it all), and he came back from sabbatical to influence this monster. When the album starts, it sounds like a continuation of their previous two albums, an acoustic guitar intro, some whispering, but then the blasting starts and the screams start, and get my blood pumping. Flammenmensch is a great start, as it shows a divergence from their previous path and shows a more energetic and powerful Dornenreich, in the vein of the BIZTZD era.

The power and furiosity of the album is really the only thing that their back catalog has in common with this album, though. There are a few very important and readily apparent changes the band has made. Long gone is the synthesizer, replaced with real string instruments, which gives the album a very organic feel, and compliments the softer interludes and songs like the final track Erst Deine Traene Loescht Den Brand. This is a quintessential example of what I mean. Soft and melancholic acoustic guitars are paired with the beautiful and sorrowful violins, creating a somber and depressing element. As the song progresses, the electric guitars get their introduction and a cacophonous finale that crescendos before falling into another acoustic outro paired again with violins to finish the album.

On the whole, this album is melancholy and beauty put into musical form. I really loved this album, the song structures, the mix and the vocals. Everything is just right; not too much extranneous bullshit, and unnecessary additives. This album is precise, concise, and sets the bar for every other metal album coming out this year.

Highly recommended!!

For their 7th full-length effort, Dornenreich continue to refine and hone in those elements that make them distinct from the vast and growing population of their folk-influenced peers. Razor spun, tight melodic riffing; passionate vocals that strafe both the harsh and clean territories with practiced ease; beautiful acoustic guitars that exist to more than a middling effect; gently curving bass; and the violin of Inve, seamlessly woven into the core metallic instrumentation as if it were always meant to be, perhaps the most fluid example of this in the entire genre. But more than any of this, the Austrians realize what it takes to propel a concept to its beautiful heights, and pace their album with wincing, weaving plots of variation that make it a pleasure to listen through.

Flammentriebe is all of these things, deviously transforming from elegant calms to glorious raids within the breadth of a few measures, with a guitar tone that is sheer, gleaming ice throughout the opener "Flammenmensch". "Der Wunde Trieb" brings Inve into full stride, his string work responsible for an excellent intro that crashes straight into the wavelike riffing patterns and air of solitude and tragedy. "Tief im Land" is more majestic still, with tearing guitars that collapse and emerge into the cleaner guitars and violin, as if an epic were being written out across the scrolls of history. "Wolfpuls" transforms from a cautionary gloom to the catchiest, punchiest riffs on the entire album, yet still carrying its melodies in tow; while "Wandel Geschehe" waltzes with loving despair, each moment of marvelous tranquility hanging at the edge of metallic eruption. I'd also point out the closer "Erst deine Träne löscht den Brand" as noteworthy, a near on 8 minutes epic of sailing violins and emotionally stirring, simple chord progressions that opens with a highly accessible acoustic component.

Flammentriebe is indeed a beautiful evocation, so carefully composed that it's obvious the past 15 years have been put to good use, molding this outfit through a wide wealth of exploration. There is something archaic here, some antiquity the band are able to generally touch upon that makes this the perfect accompaniment for historical fiction, although the 'flame' implied with the title seems more one of inspiration than elemental affinity, this to me is the music of vast open reaches of water or the gentle lick of tides against stone coastlines. My reaction to the band's prior efforts is mixed: some I found compelling, some consuming, some all too forgettable. You can file Flammentriebe somewhere between the first two categories. It's not perfect, but very often will take your breath away.

-autothrall
http://www.fromthedustreturned.com