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Nagelfar > Srontgorrth (Die Macht erfaßte das Meine wie die Angst das Blut der Anderen) > Reviews > beletty
Nagelfar - Srontgorrth (Die Macht erfaßte das Meine wie die Angst das Blut der Anderen)

The fellatio that is virtual triumphs - 85%

beletty, September 23rd, 2008

Two are the trademarks through which I link this album to von Meilenwald's wonder-kid project that shook the foundations of nowadays' black metal scene, The Ruins of Beverast: the trumpeting accents and the cult for audio samples.

The trumpeting accents are what I call short moments of histrionic thrust as the vocalist pulls out a (surely) longly practiced and well directed theatrical exultation, a charismatic clean recitation. These accents are short of metal instrumentation and make use of actual trumpets (sometimes). What's the big deal with these moments that comprise only a small amount in the album's play time, one would ask. They can be used to spectacular effect, as I will detail an example here:

We all know what a climax or crescendo is. A well composed climatic riff is something similar to an accoustic orgasm. Some compositions repeat several times a climatic riff. Yet only the last of these riffs reaches it's climax. The preceding riffs are blunted just before reaching their highest point in order to amplify the last riff's apogee. Usually this technique uses a riff three times (e.g. Scanner - Across the Universe). The sequence from Nagelfar's album of which I speak employs the riff only twice, but what an effect it makes as the vocalist exclaims rhetorically in the climatic moment of silence: "Die Realittet!"

The metal part of the album involves blazing-fast faded screams following a torrential flush of aquatic riffing spiced with martial drumming. There is one riff on this album that disembowels profoundly on all that is called riff in black metal: 11:20 - 12:35 from the second song. The riff also recurs later in various forms, one of which is techno. This is one of the things that astounds me most at Nagelfar: they interveawe extremely exotic elements with black metal without sounding kitsch.

Von Meilenwald and company carry the torch of black metal high as they uncowardly step and break the profligancy of conventions, the pestilence of same-sounding and the mediocrity that music is usually represented by. 1999 - an year that shall remain crimsonly burnt in the genre's flesh forever.