Nachtblut - Vanitas

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Since the arrival of Second wave of Black Metal in the beginning of the 90’s, the genre arose in many countries on Europe, revealing names that became famous for their musical works. Norway, Sweden, Greece, Italy, and many more, but strangely, Germany (a stronghold for European Metal) had few names, and none of them came as famous as the ones from other countries. Obviously that names as AGATHODAIMON, MYSTIC CIRCLE, NINNGHIZHIDDA, NARGAROTH, BETHLEHEM and few others are widely known, but into underground, and never a commercial success. But things seem to be changing with the arrival of “Vanitas”, the sixth album of NACHTBLUT.

Their musical work is based on a form of Melodic Black Metal with some Gothic Rock influences, similar to what CRADLE OF FILTH used to do on the aggressive moments of their past. But these words don’t mean that the quartet has no personality, because their musical appeal is not as extreme, and has deep Gothic Rock influences (as can be heard on parts of “Kaltes Herz”), and even some Industrial Metal traces can be heard due the use of Synthesizers’ parts. It’s really good and charming, and can easily be assimilated by many Metalheads that aren’t fans of Black Metal. Benjamin Lawrenz and Chris Harms worked on the production, mixing and mastering of “Vanitas”, and they created a massive and clean sound that fits on the quartet’s musical personality. But obviously the aggressiveness is clear on it as well (especially due the choices for the instrumental tunes).

All the songs are truly very good and shows a name that can be spread out of Germany’s boundaries, especially due the work shown on songs as “Vanitas” (a climatic catchy rhythmic with very good guitar riffs and keyboards parts), “Leierkinder” (a song filled with a the Romantic ambience, with charming keyboards with hooking melodies contrasting with the good set of vocals tunes), “Kaltes Herz” and “Nur in der Nacht” (both are showing extreme Metal elements contrasting with Industrial and Gothic/Pop arrangements, with a good work on bass guitar and drums), “Schmerz & Leid” (where Chris Harms sings and plays synths and do the programming, but it bears some sharp guitar  riffs in the middle of the accessible German Industrial Rock outfit of the song), “Meine Grausamkeit Kennt Keine Grenzen” (this one is more into a Black Metal trend, rich in aggressive parts with snarling shrieks similar to the tunes used by Dani Filth), and “Die Toten Vergessen Nicht” (some typical somber melodies that are traditional from German Black Metal can be heard with fine musical arrangements).

As mentioned above, “Vanitas” seems to point to a titan to arise in the German Black Metal scene. But NACHTBLUT, in the future, could use some songs with English lyrics to reach a broader public.

Songwriting: 10
Musicianship: 10
Memorability: 8
Production: 9