review by: Roberto Martinelli

Prophecy Productions label is known for putting out quieter records that play up an artsy feel and yet still manage to remain somehow in the black metal universe. And although Dornenreich is the label's first proper black metal band, it fits in well.

You'll see Dornenreich often promoted with the phrase "avant-garde black metal." That is an apt title. Just like bands such as Solefald and Eikenskaden, Dornenreich is trying to go for an atypical angle while still remaining black metal, and achieves great success on this album.

The most readily apparent element of this so-called avant-gardeness are the vocals, which are largely done in a uniquely intense, paranoiac whisper. Comparisons of these vocals can be drawn to the manic, whispering-yet-screaming ones found on some parts of Solefald's The Linear Scaffold (which is a must have album, by the way). The record, which appears to be a concept album (all lyrics are in German), starts off solely with this low whisper that gradually builds before exploding into electric guitars that are accompanied by some violin. Later, cello is added as well. The inclusion of these two acoustic instruments reminds me of In the Woods' Omnio at times. At other times it seems as if Dornenreich may have drawn some influence from Dodheimsgard's Satanic Art in the way violins are included in the faster metal sections. Dornenreich appreciates dynamics and uses them well.

What else is cool about this record is how the first, fast and intense half is complemented with soft and largely acoustic songs. Here, of course, the whispering vocals fit in the best. The amount of this music may annoy some people, but I find the compositions excellent and the mood very well done.

So this record is certainly not for every black metal fan. As with many of the bands that Prophecy puts out, Dornenreich has that air that I can only describe as "art fag-ness." The singer makes little gay, exclaimed sighs and snorts. The booklet's lyrics are very elaborate and are filled with pictures of the band sometimes in rather effeminate poses hanging out in waterfalls and forests with their shirts off. These images and sounds makes you imagine the musicians as fitting that stereotype of the avant-garde, highfalutin, snobby, rich art fanatic who speaks in educated, clipped English and laughs in a high-pitched, absurd laugh - the kind of person that many would want to punch directly in the mouth. And although this may seem like a put-down, it is really, truly an element that makes this record so appealing. It's evil, but it's gay; it's soft, but it's black metal. It's just so weird and well-done, and that's great. Highest recommendations.