Review Summary: Half-awake, half-asleep; trapped between dimensions.
The night, and its hidden secrets, has always exerted a powerful fascination among those who roam creative territories. There is something both seductive and frightening behind its opaque curtains that awakens our deepest fears and desires. An eternal source of inspiration for countless men and women who dared to dive into its ocean of mysteries, in search of pleasure, answers, and liberation. Nocturnes, by the Polish romantic composer and pianist Frédéric François Chopin, is a prime example of this passion for nighttime and the source of inspiration for Der Weg einer Freiheit's fifth album,
Noktvrn.
With every song composed in the wee hours,
Noktvrn explores these nocturnal territories, much like a half-awake creature gazing at the moon. But unlike many of its stylistic peers, it is not only made of shadow but also of light. There is a subtle lightness to all songs that gives
Noktvrn a somewhat shimmering look and feel, akin to a burning candle in the corner of a large dark room. Although Nikita Kamprad's songwriting has been spreading its wings over the years, it has never been as diverse as it is now. The melodramatic 'Immortal' (featuring Dávid Makó) and the post-rock(ish) closing track 'Haven', with Kamprad's unexpected falsetto vocals, are the most glaring examples of this broader approach and its most contrasting moments. By exploring new textures, Kamprad not only takes a step forward creatively but also gives the album greater chromatic depth, thus avoiding monochromatic grounds. Everything flows remarkably well, both due to the songwriting dynamics and the recording process, which was done live. This allowed the songs to flow magnificently. The communion between the collective is felt throughout the album, being particularly apparent in the more minimalist sections and subsequent crescendos. 'Gegen das Licht' and 'Haven', although stylistically different, are the ultimate exponents of this progressive increase of intensity. The former is even
Noktvrn's most epic piece, featuring two distinct sections, both with magnificent crescendos. The intimate, minimalist opening segments of 'Monument' and 'Gegen das Licht' should also be underlined as they are of remarkable quality. These softer tones, along with
Noktvrn's more euphoric moments, constitute the strongest parts of the album, which mirrors Nikita Kamprad's talent for working at opposite ends of the spectrum.
Despite its organic and emotional side,
Noktvrn doesn't hide its extreme black metal roots, on the contrary, it proudly unveils them. 'Monument' and 'Am Rande der Dunkelheit' both feature segments of outstanding intensity, alongside 'Morgen's’ first half, whose vibrant tremolo picking is among the most interesting moments on the album. The organic dynamics crafted between the different tempos, intensities, and crescendos are the heart and soul of
Noktvrn and its most relevant offering. And although the combination of multiple textures has already been explored on previous albums, never has it been so evident and contrasting. Even linguistically, since 'Immortal' and 'Haven' are both sung in English instead of Nikita Kamprad's native tongue, as has been customary until now. Although this may seem like a small insignificant detail, it symbolizes a willingness for artistic expansion and innovation - a core characteristic of Der Weg Einer Freiheit's creative DNA.
From the top of Mount Olympus, Frédéric Chopin must be proud of his German disciples. And while he's struggling to grasp the peculiarities of black metal aesthetics, he perceives
Noktvrn's narrative like no one else. It is a tale of the night; a script that wanders between dream and reality, half-awake, half-asleep; trapped between dimensions. A majestic, intimate testimony that pushes the listener into one of 2021's most interesting soundscapes.
