Review Summary: Blackened darkwave made for simple eccentricity
Presumably taking their name from the Roky Erickson song of the same name, Night Of The Vampire’s first album is an appropriately spoopy offering that mixes darkwave and black metal. You can certainly hear those post-punk roots shine through the bouncy, often danceable rhythms throughout along with the domineering synths that pierce the senses and color the atmosphere. The vocals are a dry rasp that do well in not feeling out of place and the guitars provide a harsh contrast, albeit with a rather buried presence in comparison.
But for how unorthodoxly this formula is presented, the results are surprisingly accessible and border on played out even dealing with a lean thirty-one minute length. The opening “Children Of The Immortal Blood” provides the template of rushing drums, chugging guitars, and beeping keyboards that are eagerly followed up on by the subsequent numbers. “Sacrifice Of The Night” is a solid song though one I find more amusing for that faint fumbled boop right at the start (you didn’t think anyone would notice but I did) while the title track has the sort of bass thrust poised to give one Sisters of Mercy flashbacks and “The Prince Of Many Faces And The Lady Of The Night” broaches crunchy Joy Division.
Fortunately, the album isn’t too one-dimensional as there are some strong outliers that fluctuate the tempos while sustaining the upbeat pace. “Chasing Shadows In An Ocean Of Time” may be the closest that gets to proper metal with its muscular riff taking charge though still supplemented by those spoopy textures. Tracks like “The Cosmic Darkness Calls Me Home” and the closing “Misty Illusions” also provide some great breathing room, the former immersed in dark synthwave while the latter serves as a pleasant two-minute dungeon synth comedown.
Despite what its elaborate title would suggest, The Enchanting Winds Of The Dreamweaving Masquerade sees its blackened darkwave come out with a strong balance of simple eccentricity. While it’s the sort of album that would likely prove too gimmicky had it gone for much longer, it proves to be an easier listen than most of the chaotic hybrids I’ve come across lately. The style blend manages to be cohesive as the ominously camp mood throughout services both genres while making for the sort of bouncy songs tailor-made for a dark dance party.
