A black metal solo project from established musician Winterherz, Waldgefluster is a stunning work that captures the dark sound of nature in all its majesty and violence via the careful incorporation of pagan and folk elements. Similar in execution to the work of the amazing Winterfylleth, ‘Meine Fesseln’ is icy, progressive black metal at its finest and surely rewards the time and effort that went into its carefully crafted production (the release was three years in the making, highlighting the passion that stands at the heart of the project).
Comprised of seven compositions, five of which pass the eight minute mark, ‘Meine Fesseln’ is an ambitious project which requires, and repays, careful and repeated listens. Far from an immediate release, whilst its power stands out, the compositional depth only comes into focus with time. ‘Der Nebel’ opens the album and its solemn, beautiful, acoustic introduction speaks of desolation and beauty in equal measure before the icy wind of blackened guitars sweeps acrosse the open steppe, obliterating everything in its path with a storm of swirling ice particles and dense, raw-throated vocals. The guitars rage, the playing fluid and almost hypnotic, and yet amidst the hyper-speed riffing there is also melody, a fact recognised by the pagan chanting introduced into the heart of the song, and Winterherz cleverly draws all of the disparate elements together to deliver a track that speaks of ancient force and power as elegantly as if it had been handled by the romantic poets of old. An epic introduction to the world of Waldgefluster, it is hard to imagine a better album opener, and it sets the scene perfectly for the fifty-odd minutes of music that follow. ‘Karhunkierros’ draws upon numerous styles, opening with acoustic guitar and an almost classic rock vibe before the scarifying guitars tear the vibe to pieces, rampaging roughshod across the landscape whilst the vocals gouge and scrape your senses. It’s not a one-dimensional assault, however, and clean vocals add an almost ethereal touch to proceedings, never detracting from the raging spirit that lies at the heart of the song, but rather providing essential contrast, highlighting the brutality before providing a counterpoint to it. There are elements here of the evolution that took place within the ranks of Anathema, a near-progressive beauty in the guitar work that reveals itself only after the relentless purge of the early blackened assault that greets the listener and it’s easy to understand why it took so long to realise this project.
‘Wie eine Weide im wind’ is a lengthy composition that again draws upon the strengths of classic rock with its fast paced acoustic introduction and galloping guitars, albeit classic rock blackened by exposure to the elements and twisted by the senseless destruction of our natural habitat. Clearly a project informed by deep rooted beliefs and a pagan sensibility that very rightly prioritises the role of nature, the rage at the heart of Waldgefluster is far from unfocused, and the music is powerful, evocative and rife with emotion. Notably, even after repeated listens, it is hard not to find yourself becoming thoroughly absorbed in the music, in the hypnotic rhythms and wild guitars, and the result is that the near-eleven minute track passes in mere moments. One of two shorter tracks, ‘Trauerweide Teil I’ opens to the sound of the wind and rain, the music slowly emerging from the natural elements at a more sedate pace and operating far more deeply within progressive territory, the musicians repeating the same, haunting musical phrase and augmenting it each time, building up a singular atmosphere that recalls the majesty of Swans shot through with the bleak wonder of Burzum and the sublime beauty of Anathema. It is here that the distinction between beauty and brutality truly breaks down and you can begin to appreciate the scale of Winterherz’s conception.
Returning to more oppressive spheres, ‘Wenn die Morgensonn…’ applies searing riffs and multiple, overlapping vocal lines to create a surging, dream-like track that speaks of vast, stately caverns hewn from the living rock and populated by the peoples of old whose life style is in harmony with, rather than in opposition to, the might of nature. With intricate acoustic work and carefully placed sound effects, this is a work best appreciated on headphones, and whilst the music could be described as ‘heavy’, the composition is so varied and intricate that it fits more closely to the realm of classical works thanks to the carefully balanced ebb and flow of sound and mood and as a delicate piano section appears from amidst the torrential fire of the guitars, words fail in attempting to further define the sublime nature of the music. ‘Mit welchen Fesseln’ opens to the subtle rattling of chains, as if symbolising the bondage of nature represented on the evocative album cover, the music progressing at a stately pace with fluid guitars tempered by mid-tempo percussion and rich, warm vocals that recall Katatonia’s grandiloquent approach. Evoking the chivalry and honour of old and eschewing the fast-paced, consumerist driven solipsism of the modern age, the music is a gateway to a distant and long-lost realm and it says much of the musical skills of Waldegfluster that their music can so elegantly inspire the imagination. As the track progresses it expands into ambient realms of such haunting beauty that the song’s conclusion brings the same sense of genuine sorrow and loss that one feels at the close of a good book and it’s only the certainty that the album is all the better for being heard as one contiguous piece that stops you replaying it instantly. The final track, arriving it seems mere moments after the disc first began, is entitled ‘Trauerweide Teil II’ and it closes the album with an acoustic moment that feels deeply personal and heartfelt. Like sitting in the forest late at night with your travelling companions, the campfire burnt low and the alcohol wearing off, it is the end of a journey and at first light you’ll go your own way, but for one last moment you commune with each other and with nature and as the music slowly fades you awake from your reverie, both bereft at the close of so wonderful a journey and refreshed having undertaken it.
Where some bands may take an entire career to develop such music, Waldgefluster took three years and a clearly personal vision to craft this stunning work. This review, as it stands, comprises over a thousand words, and yet it feels like it scarcely does the record justice and it is easy to imagine whole essays being written about its immense beauty in the future. Music can be made for many reasons, and there is no one better motivation than another, but where personal belief and heartfelt passion is wrought into the very fabric of the songs you find something very special indeed. The music here is rich, textured and deeply evocative, and the hour spent in its company is not unlike the time spent so engrossed in a novel that the outside world, for that period of time, ceases to exist. The music feeds the senses, inspires the imagination and leaves you feeling a desire to leave the dreary, dull confines of the city and walk deep in the heart of nature, absorbing the sights, sounds and smells of an ancient land slowly being ground into nothingness by the ever-faster encroachment of humanity. Words do not do this album justice – that it is a work of art is indisputable and it needs no further justification – close your eyes, listen intently and you will not fail to appreciate that depth of feeling that inspired this recording.
