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Doomed to Die (2002)
Nachtfalke began as a side project for Occulta Mors, better known for his work with the legendary German black metal band Moonblood. As that collaboration came to an end, he decided to simply to continue with his other project and use the riffs accordingly. While his signature songwriting style is still quite evident, there is a much stronger influence from Bathory's Viking-era. This element could already be found in some of the Moonblood material, but took on a more prominent role in Nachtfalke. After somewhat inconsistent debut album, the band returned in 2002 with Doomed to Die, released on Christhunt Productions.
The album begins with "Valhalla", opening with an intro suitable for The Lord of the Rings. After a minute or so, the razor-thin tremolo riffs rise from the darkness and are joined by intense drumming and wild vocals. Occulta Mors does not utilize as grim and harsh of a vocal approach as Gamaalzagoth did, but it is not too far off. He also manages to employ a bit of clean vocals during the refrain, as the riffs shift to a thrashier style. These passages add an epic feeling to the song, thus making it a bit less dark than one might have expected. This track is pretty straightforward and shows quite a bit of improvement over the previous record.
"Pestkrieg" possesses a very dramatic feel, and is driven by mid-paced tremolo melodies, assisted by the drumming. The atmosphere is sombre, at times, but not to the extent where it becomes overtly depressive. The production suits the music well and is still rather raw but boasts a higher degree of clarity which enables all of the elements to stand out moreso than on albums like Blut und Krieg or Taste Our German Steel.
The next song is a cover of Bathory's "Home of Once Brave" and, incredibly, Occulta Mors does a very decent job on vocals, coming very close to matching the tone that Quorthon used over a decade before. This does well to maintain the atmosphere of the original song, while also blending in with the rest of the material and helping to form a cohesive whole.
"Fallen Heroes" starts out with a slow riff that sustains the vibe from the previous song, before transitioning to something faster. The mournful tremolo riffs are, again, reminiscent of Moonblood and give an idea of what that band would have sounded like with a clearer production. There is a bit of variation in the tempo, with slower sections appearing near the middle and a return of the intro theme.
The final song is "Einherjer (Doomed to Die)". It is a slower song that actually reminds more of Burzum than Bathory, and the atmosphere is melancholic throughout. There is a bit of keyboard use that is rather minimal and adds to the eerie vibe. There is a miserable feeling conveyed by this song, but moreso in the sense of being aware of some horrible fate that is inescapable rather than drowning in sorrow.
Doomed to Die is a very solid album and does well to preserve the legacy of Moonblood as well as to further establish Nachtfalke's sound. There is a good balance between the original songwriting style of Occulta Mors and the strong Bathory influence, even working a cover song into the mix without sacrificing the flow of the album. All of the songs work well together to create a cohesive album, rather than a mere collection of songs. That was one of the main issues with Hail Victory Teutonia. The only real complaint with this record is that it is only 34 minutes long. However, sometimes, less is more and it is better to leave your listeners hungering for more instead of boring them to tears. This is highly recommended for fans of Moonblood, Viking-era Bathory or epic black metal, in general.
The album begins with "Valhalla", opening with an intro suitable for The Lord of the Rings. After a minute or so, the razor-thin tremolo riffs rise from the darkness and are joined by intense drumming and wild vocals. Occulta Mors does not utilize as grim and harsh of a vocal approach as Gamaalzagoth did, but it is not too far off. He also manages to employ a bit of clean vocals during the refrain, as the riffs shift to a thrashier style. These passages add an epic feeling to the song, thus making it a bit less dark than one might have expected. This track is pretty straightforward and shows quite a bit of improvement over the previous record.
"Pestkrieg" possesses a very dramatic feel, and is driven by mid-paced tremolo melodies, assisted by the drumming. The atmosphere is sombre, at times, but not to the extent where it becomes overtly depressive. The production suits the music well and is still rather raw but boasts a higher degree of clarity which enables all of the elements to stand out moreso than on albums like Blut und Krieg or Taste Our German Steel.
The next song is a cover of Bathory's "Home of Once Brave" and, incredibly, Occulta Mors does a very decent job on vocals, coming very close to matching the tone that Quorthon used over a decade before. This does well to maintain the atmosphere of the original song, while also blending in with the rest of the material and helping to form a cohesive whole.
"Fallen Heroes" starts out with a slow riff that sustains the vibe from the previous song, before transitioning to something faster. The mournful tremolo riffs are, again, reminiscent of Moonblood and give an idea of what that band would have sounded like with a clearer production. There is a bit of variation in the tempo, with slower sections appearing near the middle and a return of the intro theme.
The final song is "Einherjer (Doomed to Die)". It is a slower song that actually reminds more of Burzum than Bathory, and the atmosphere is melancholic throughout. There is a bit of keyboard use that is rather minimal and adds to the eerie vibe. There is a miserable feeling conveyed by this song, but moreso in the sense of being aware of some horrible fate that is inescapable rather than drowning in sorrow.
Doomed to Die is a very solid album and does well to preserve the legacy of Moonblood as well as to further establish Nachtfalke's sound. There is a good balance between the original songwriting style of Occulta Mors and the strong Bathory influence, even working a cover song into the mix without sacrificing the flow of the album. All of the songs work well together to create a cohesive album, rather than a mere collection of songs. That was one of the main issues with Hail Victory Teutonia. The only real complaint with this record is that it is only 34 minutes long. However, sometimes, less is more and it is better to leave your listeners hungering for more instead of boring them to tears. This is highly recommended for fans of Moonblood, Viking-era Bathory or epic black metal, in general.
(5 Oct. 2011)
Land of Frost (2003)
Land of Frost, the third offering from Germany's Nachtfalke, was released in Christhunt Productions in December 2003. On this record, Occult Mors continues the work that truly began on his previous effort while taking the Bathory-worship to a new extreme. As with Doomed to Die, there is still a decent amount of material that carries on the dark legacy of Moonblood, but the overall atmosphere of the album is less dismal and more frozen and epic.
It begins with "The Windlords", which bursts forth at full speed, after a lengthy intro. The guitar tone sounds somewhat similar to Abyssic Hate, though the music here is vastly superior. This track does well to start things out at a furious pace, and really works well within the overall context of the album. The vocals are impassioned and suit the vibe of the music, perfectly. The lyrics are quite similar to what one would expect from Immortal, and the similarities with that Norwegian band do not end there.
"Ragnarök" is the longest song on the album, clocking in at nine and a half minutes. The introductory riffs are reminiscent of the material from Hammerheart, though the mood changes rather abruptly. The arrangement is brilliant and the miserable feeling is almost overwhelming. This song sounds somewhat like "Einherjer (Doomed to Die)", from the previous album, yet it is even more melancholic. The woeful vocals add a sense of despair and pure misery to the atmosphere, aiding the guitar riffs in creating a sense of loss and mourning. It makes sense that it bears similarities to the aforementioned track, based on the lyrical theme that is present in both. While there is a faster section, later on, the song is predominantly mid-paced and possesses a very epic feeling.
The next song is "Berserker", starting out with a Bathory-inspired riff but soon transitioning to pure Immortal worship. To his credit, Occulta Mors does a very good job at incorporating this style into the overall tapestry of Land of Frost. This really sounds like a lost track from Battles in the North, as even the vocal performance is more in the vein of Abbath's style. The guitar riffs, drumming patterns and even the clean guitar passage all scream Immortal. Most importantly, it is done well.
"Immortal Home" is next and this is the real highlight of the record. It was also the first Nachtfalke song that I heard, so there is a bit of sentimentality attached as well. The riffs are completely derivative of Bathory and it is done beautifully. If not for the harsh vocals, this could easily be mistaken for one of Quorthon's hymns. It even includes the backing choir. This mid-paced epic creates an atmosphere that is majestic and strangely sad as well. It evokes an odd feeling, almost like being homesick for a place that does not exist; or at least, not anymore.
Things speed up with "Men from North", utilizing cold tremolo riffs and yet sounding very little like Moonblood, as one might expect. There are times when the bass guitar is heard more than usual, and the backing choir returns for the mid-paced refrain. This song is fairly simple, alternating between the fast and slower riffs and keeping up the epic feeling that bleeds forth from this album.
The final track is "Land of Frost", which is strange upon first listen due to the clean vocals and high-pitched scream, at the beginning. It seems much more upbeat and thrashy, with harsh vocals dominating most of the track. Though it takes a listen or to to get used to, this song is actually very good and adds yet another dimension to the album.
Land of Frost is a great record that manages to surpass Doomed to Die, if only slightly, in terms of songwriting and execution. It offers more variation and the epic nature of the album is far beyond what its predecessor was capable of. The fact that some of the songs sound so similar to other bands does not detract from the overall experience and the skill in integrating those styles into Nachtfalke's music is exceptional. Buy this.
It begins with "The Windlords", which bursts forth at full speed, after a lengthy intro. The guitar tone sounds somewhat similar to Abyssic Hate, though the music here is vastly superior. This track does well to start things out at a furious pace, and really works well within the overall context of the album. The vocals are impassioned and suit the vibe of the music, perfectly. The lyrics are quite similar to what one would expect from Immortal, and the similarities with that Norwegian band do not end there.
"Ragnarök" is the longest song on the album, clocking in at nine and a half minutes. The introductory riffs are reminiscent of the material from Hammerheart, though the mood changes rather abruptly. The arrangement is brilliant and the miserable feeling is almost overwhelming. This song sounds somewhat like "Einherjer (Doomed to Die)", from the previous album, yet it is even more melancholic. The woeful vocals add a sense of despair and pure misery to the atmosphere, aiding the guitar riffs in creating a sense of loss and mourning. It makes sense that it bears similarities to the aforementioned track, based on the lyrical theme that is present in both. While there is a faster section, later on, the song is predominantly mid-paced and possesses a very epic feeling.
The next song is "Berserker", starting out with a Bathory-inspired riff but soon transitioning to pure Immortal worship. To his credit, Occulta Mors does a very good job at incorporating this style into the overall tapestry of Land of Frost. This really sounds like a lost track from Battles in the North, as even the vocal performance is more in the vein of Abbath's style. The guitar riffs, drumming patterns and even the clean guitar passage all scream Immortal. Most importantly, it is done well.
"Immortal Home" is next and this is the real highlight of the record. It was also the first Nachtfalke song that I heard, so there is a bit of sentimentality attached as well. The riffs are completely derivative of Bathory and it is done beautifully. If not for the harsh vocals, this could easily be mistaken for one of Quorthon's hymns. It even includes the backing choir. This mid-paced epic creates an atmosphere that is majestic and strangely sad as well. It evokes an odd feeling, almost like being homesick for a place that does not exist; or at least, not anymore.
Things speed up with "Men from North", utilizing cold tremolo riffs and yet sounding very little like Moonblood, as one might expect. There are times when the bass guitar is heard more than usual, and the backing choir returns for the mid-paced refrain. This song is fairly simple, alternating between the fast and slower riffs and keeping up the epic feeling that bleeds forth from this album.
The final track is "Land of Frost", which is strange upon first listen due to the clean vocals and high-pitched scream, at the beginning. It seems much more upbeat and thrashy, with harsh vocals dominating most of the track. Though it takes a listen or to to get used to, this song is actually very good and adds yet another dimension to the album.
Land of Frost is a great record that manages to surpass Doomed to Die, if only slightly, in terms of songwriting and execution. It offers more variation and the epic nature of the album is far beyond what its predecessor was capable of. The fact that some of the songs sound so similar to other bands does not detract from the overall experience and the skill in integrating those styles into Nachtfalke's music is exceptional. Buy this.
(6 Oct. 2011)
As the Wolves Died (2005)
Nachtfalke's fourth full-length album, As the Wolves Died, was released on Christhunt Productions in 2005. This record picks up from where Land of Frost let off, yet takes things to a darker realm, possessing more of a grim feeling hearkening back to Moonblood. By this point, the band's sound was solidified as a mixture of Bathory-inspired Viking metal, mixed with pure second wave black metal.
The album begins with "Call from Udgaard", which is a simple synth intro, though not entirely necessary. Over the years, many bands got the impression that intros were obligatory, and too few utilized them in a proper manner.
The first song is "Wrath of Old Gods", which sounds like a continuation of Moonblood, consisting of fast tremolo melodies, blast beats and grim vocals. The guitar tone is fuzzier and thinner, rather than the heavier sound that was prevalent on the last record. The riffs flow naturally from one to the next and are haunting in their own way.
"Let Me Die" starts with a medieval intro, before launching into an epic sound inspired by Bathory. It is a mid-paced track that includes some rather majestic guitar melodies. The lyrics tell the tale of a Norse warrior that is prepared for death, not out of any sort of misery or anguish but having accomplished what he set out to do in this world and being ready to fight on in eternity. This song is a bit repetitive, with no real variation in tempo, but the atmosphere is such that any sort of fast section would have been out of place.
"Praise the War" is another song that is reminiscent of Moonblood's glory days, with the only difference being the deeper vocals of Occulta Mors. The riffs are tremolo-picked, but there are parts where the drumming slows down and the song takes on a more epic vibe for a few moments. This song is quite memorable, especially the faster parts, and is easily identifiable as being Nachtfalke.
The full-on Viking metal approach returns on "Midsummer", which really displays a lot of Bathory worship, such as the subtle clean guitar chords that are added in. The riffs are monumental, in a sense, and give off the feeling that something significant is soon to be upon you. This is almost like something that one would expect to hear as you prepare for the final battle at the end of the world. There is one melody near the end, in particular, that is absolutely brilliant. It screams Bathory, but it does not matter. Such genius should be hailed, regardless of where the inspiration comes from.
"When the Wolves Return" has an atmosphere all its own, not really sounding like any of the other songs. It has more of a subdued feel, with a bit of synth to accentuate the atmosphere. The old school drum rhythm is a nice touch, as well.
The next song is a cover of Bathory's "Blood and Iron". Land of Frost was the first Nachtfalke album to not include a cover song, so it was pleasant to see that As the Wolves Died revived this tradition. Keeping Quorthon's spirit alive is a very admirable thing and this band certainly does justice to his work and his legacy. Occulta Mors does a great job with the music and is unbelievably good at reproducing the same tone for the vocals. At times, one could swear that he just took the original and added some distortion to it, as it is very dead on.
The album ends with "Hail the Old Gods", which is an instrumental that really continues the vibe from the Bathory song. It has a very introspective and sombre tone, ending things in a gloomy way.
As the Wolves Died is yet another solid release from Germany's Nachtfalke. With this one band, the legacies of Bathory and Moonblood are carried on with pride and honour. The sound is unique, in that I have not heard any other band mix these styles. Rather than taking the folk-based approach and making something light and weak, Occulta Mors keeps his music rooted in black metal, never forgetting where he came from. This is an essential release for fans of this band or the style in general. Buy this now.
The album begins with "Call from Udgaard", which is a simple synth intro, though not entirely necessary. Over the years, many bands got the impression that intros were obligatory, and too few utilized them in a proper manner.
The first song is "Wrath of Old Gods", which sounds like a continuation of Moonblood, consisting of fast tremolo melodies, blast beats and grim vocals. The guitar tone is fuzzier and thinner, rather than the heavier sound that was prevalent on the last record. The riffs flow naturally from one to the next and are haunting in their own way.
"Let Me Die" starts with a medieval intro, before launching into an epic sound inspired by Bathory. It is a mid-paced track that includes some rather majestic guitar melodies. The lyrics tell the tale of a Norse warrior that is prepared for death, not out of any sort of misery or anguish but having accomplished what he set out to do in this world and being ready to fight on in eternity. This song is a bit repetitive, with no real variation in tempo, but the atmosphere is such that any sort of fast section would have been out of place.
"Praise the War" is another song that is reminiscent of Moonblood's glory days, with the only difference being the deeper vocals of Occulta Mors. The riffs are tremolo-picked, but there are parts where the drumming slows down and the song takes on a more epic vibe for a few moments. This song is quite memorable, especially the faster parts, and is easily identifiable as being Nachtfalke.
The full-on Viking metal approach returns on "Midsummer", which really displays a lot of Bathory worship, such as the subtle clean guitar chords that are added in. The riffs are monumental, in a sense, and give off the feeling that something significant is soon to be upon you. This is almost like something that one would expect to hear as you prepare for the final battle at the end of the world. There is one melody near the end, in particular, that is absolutely brilliant. It screams Bathory, but it does not matter. Such genius should be hailed, regardless of where the inspiration comes from.
"When the Wolves Return" has an atmosphere all its own, not really sounding like any of the other songs. It has more of a subdued feel, with a bit of synth to accentuate the atmosphere. The old school drum rhythm is a nice touch, as well.
The next song is a cover of Bathory's "Blood and Iron". Land of Frost was the first Nachtfalke album to not include a cover song, so it was pleasant to see that As the Wolves Died revived this tradition. Keeping Quorthon's spirit alive is a very admirable thing and this band certainly does justice to his work and his legacy. Occulta Mors does a great job with the music and is unbelievably good at reproducing the same tone for the vocals. At times, one could swear that he just took the original and added some distortion to it, as it is very dead on.
The album ends with "Hail the Old Gods", which is an instrumental that really continues the vibe from the Bathory song. It has a very introspective and sombre tone, ending things in a gloomy way.
As the Wolves Died is yet another solid release from Germany's Nachtfalke. With this one band, the legacies of Bathory and Moonblood are carried on with pride and honour. The sound is unique, in that I have not heard any other band mix these styles. Rather than taking the folk-based approach and making something light and weak, Occulta Mors keeps his music rooted in black metal, never forgetting where he came from. This is an essential release for fans of this band or the style in general. Buy this now.
(7 Nov. 2011)
Following the Wanderers Path (2007)
Following the Wanderer's Path is the fifth L.P. from Nachtfalke and marks a turning point. For the first time, Occulta Mors enlisted session musicians, including someone else to handle the clean vocals. The songwriting leans more toward Viking metal, with hardly any traces of the Moonblood sound remaining. Released in July 2007, this record would be the band's last for some years.
The album’s highlights come with "Call of the Gjallarhorn" and "To Stars High Above," both solid examples of Bathory worship. The clean vocals and mid-paced riffs bring an epic atmosphere, and the doom riff in "To Stars High Above" adds a darker edge. However, the album also suffers from some odd choices. "My Skin is Bark" feels like a carbon copy of Emperor’s In the Nightside Eclipse, and "Halls of Hell" awkwardly tries to blend the old Moonblood style with strange synth effects. The covers, while not bad, don’t add much to the overall feel of the album.
Following the Wanderer's Path is a step down from As the Wolves Died. While not bad, the songwriting doesn’t hold up as well under close scrutiny. There are moments where Nachtfalke shines, but they’re fewer and farther between.
The album’s highlights come with "Call of the Gjallarhorn" and "To Stars High Above," both solid examples of Bathory worship. The clean vocals and mid-paced riffs bring an epic atmosphere, and the doom riff in "To Stars High Above" adds a darker edge. However, the album also suffers from some odd choices. "My Skin is Bark" feels like a carbon copy of Emperor’s In the Nightside Eclipse, and "Halls of Hell" awkwardly tries to blend the old Moonblood style with strange synth effects. The covers, while not bad, don’t add much to the overall feel of the album.
Following the Wanderer's Path is a step down from As the Wolves Died. While not bad, the songwriting doesn’t hold up as well under close scrutiny. There are moments where Nachtfalke shines, but they’re fewer and farther between.
(7 Nov. 2011)
Wotan's Return (2011)
Nachtfalke's sixth full-length album, Wotan's Return, released in 2011, arrived four years after the band's previous effort. While the long wait may have sparked anticipation, the album ultimately disappoints. Though there are a few standout tracks, much of the material feels like filler, and the overall experience is uneven.
The album opens with a cover of Bathory’s “Shores in Flames,” which, while faithful, is an odd choice to kick things off. Occulta Mors has made a habit of including a Bathory track on each album, but the inclusion of two covers here doesn't add much to the overall flow.
The best tracks on Wotan's Return are “Hyperborean Light,” “After a Rain of Fire,” “Autumn Leaves,” and “Asatru.” These are the only ones worth revisiting. “Hyperborean Light” offers a slow, melancholic atmosphere with repetition in the songwriting, building to a more tortured, emotional climax. “After a Rain of Fire” takes on a more epic feel with introspective melodies and a deep sense of sorrow, a highlight of the album’s more Viking-influenced moments. “Autumn Leaves” maintains the bleak tone, but its minimalist approach, paired with a touch of Quorthon-esque guitar work, sets it apart from the rest of the material. “Asatru” stands out with brief moments of speed and tremolo melodies that break the monotony, even if they don’t do enough to fully differentiate it from the rest.
The rest of the album, unfortunately, doesn’t offer much. “Deep Into the Woods” feels incomplete, and the title track is lackluster, lacking any truly memorable moments. The second Bathory cover, “Call from the Grave,” feels out of place with the rest of the material and further highlights the album’s inconsistency.
Ultimately, Wotan's Return is a mixed bag. While there are a few tracks worth returning to, most of the album is filler, with a strange mix of covers and half-formed ideas. It’s not a terrible album, but considering the long wait, it’s a disappointing follow-up that doesn’t live up to expectations.
The album opens with a cover of Bathory’s “Shores in Flames,” which, while faithful, is an odd choice to kick things off. Occulta Mors has made a habit of including a Bathory track on each album, but the inclusion of two covers here doesn't add much to the overall flow.
The best tracks on Wotan's Return are “Hyperborean Light,” “After a Rain of Fire,” “Autumn Leaves,” and “Asatru.” These are the only ones worth revisiting. “Hyperborean Light” offers a slow, melancholic atmosphere with repetition in the songwriting, building to a more tortured, emotional climax. “After a Rain of Fire” takes on a more epic feel with introspective melodies and a deep sense of sorrow, a highlight of the album’s more Viking-influenced moments. “Autumn Leaves” maintains the bleak tone, but its minimalist approach, paired with a touch of Quorthon-esque guitar work, sets it apart from the rest of the material. “Asatru” stands out with brief moments of speed and tremolo melodies that break the monotony, even if they don’t do enough to fully differentiate it from the rest.
The rest of the album, unfortunately, doesn’t offer much. “Deep Into the Woods” feels incomplete, and the title track is lackluster, lacking any truly memorable moments. The second Bathory cover, “Call from the Grave,” feels out of place with the rest of the material and further highlights the album’s inconsistency.
Ultimately, Wotan's Return is a mixed bag. While there are a few tracks worth returning to, most of the album is filler, with a strange mix of covers and half-formed ideas. It’s not a terrible album, but considering the long wait, it’s a disappointing follow-up that doesn’t live up to expectations.
(21 Mar. 2012)
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