Since its inception in 2004, Patrick Baumanns solo project MELKOR has used the same basic ingredients: a majestic, elegiac darkness, the barren gruffness of
Norwegian Black Metal and a melancholic, nostalgic element. The rootedness in the Black Metal of the 90s always remains recognizable, but does not have a
limiting effect. The focus, now as then, is not only on aggression and speed, but on atmosphere and catchy riffs. The bandwidth of the work so far ranges
from echoing, mystical midtempo hymns to fast, aggressive parts to extended acoustic passages with sound ingredients from classical music.
After the demo „Call of the Unchained“ (2004) and the two self-produced albums „Ferne“ (2009) and „Irrlicht“ (2014), the new MELKOR album „Brandmale“ is
now released for the first time via The Crawling Chaos Records. The album is very different from its predecessor „Irrlicht“ and has a more rugged, harder, more
direct basic character than all previous ones. Synthesizer parts no longer come to the fore, but are used discreetly and with restraint. However, the songs still go
through many different tempos and moods, because MELKOR does not follow any scheme but the natural movements of the soul.
The human soul has also been the basic lyrical theme in MELKOR since the earliest days. At the center is „life as suffering“ as Schopenhauer understood it, who
in turn drew on the teachings of Buddhism - man as a plaything of the forces of nature, a swimmer in the unpredictable ocean of being, caught between beauty
and hideousness, fleeting happiness and deep despair. The lyrics approach the so conceived Conditio Humana from different perspectives and with different voices.
For 4 of the 8 songs, texts of long-dead German poets were used this time, to commemorate their great works: Clemens Brentano, Ricarda Huch,
Richard Dehmel and Karl Gustav Vollmoeller.
credits
released April 16, 2021
As with „Irrlicht“, recording and mixing were done in-house. The Polish artist Paweł Czerwiński is responsible for the artwork, whose images, abstract in
content but visually powerful and emotional, complement the music with additional spaces for interpretation.
La traversée du désert n'aura pas duré quarante jours mais quatre longues années...
Avec Панихида, Батюшка renaît enfin de ses cendres et, bien que désormais seul (ou plus exactement entouré de deux chanteurs), Христофор accomplit un miracle. Il s'inscrit dans la continuité de Литоургиiа avec un black metal orthodoxe qui nous convie ici à une cérémonie dédiée aux morts. Sa vision est englobante : les mélodies, la gravité et le silence font toucher le paradis ; l'agressivité est luciférienne. Jordan Vauvert
The atmosphere of this album is fantastic. Makes you feel like you're knee-deep in the trenches drenched in mud, filth, sweat, and blood. Truly encapsulates the horrors of World War I, and the fact that the lyrics of some of the songs are taken from old war letters really adds to the authenticity.
Favorite Track(s): Die Feuertaufe, Grabenlieder edoerfler
Every track on this album is perfect. Hard to pick a favourite but the opening with Einklang and it's segue into Dem Wind entgegen is amazing, gets me everytime VB_Stubby