Nahtrunar comes to us from Austria, conceiving full length debut Symbolismus as a tribute to the nights at the turn of the year (a European thing known as “Rauhnächte”). I can offer no insight into how well the music captures this mood, but it is certainly the type of concept that would fall squarely into the traditions of black metal. This, combined with a quick, cursory sampling of the album might have one thinking that this is yet another of the countless black metal bands too stuck in tradition to do anything fresh—or even focus on songwriting. While this certainly wears its influences proudly on its sleeves, the band’s quality hybrid and sneakily good songcraft render it into a better-than-expected, and occasionally excellent debut.
Because Symbolismus is awash in majestic, almost neo-classical tremolo melodies, the most initially obvious influence might be Dissection, an impression amplified by the soft interludes sprinkled throughout. However, whereas Dissection and their ilk go for the jugular with that razor-sharp violence, Nahtrunar softens the edges by bathing their meloblack in Darkthrone’s raw, malevolent atmosphere and even a the slightest touch of symphonic elements. This kind of approach is not exactly distinctive within black metal’s oversaturated scene, but quality and general know-how go a long way, and at times, Nahtrunar absolutely nails it.
Tracks such as opener “Auf Totenritt durch Innernächte” and “Nauthiz Notfeuer” see the band at this nailing-it best. Both reveal a penchant for chilling, naked tremolo lines, plenty of stylistic and rhythm changes by the drummer (everything from hyper-blasting to hypnotic drifting), and echo-drenched screams. The latter also finds time to get downright unsettling and eerie before a brief solo brings the song back to its triumphant heights.
Other songs expand on the formula somewhat. The title track mixes in classical guitar to foreshadow one of the song’s main motifs, a small detail that really sets the epic tone for over 8 minutes of gripping music. Later, during closer “Wo der Nachthimmel sich aufspreiz,” the band introduces some warped Vindsval-ish riffing amidst the usual heap of soaring majesty. It’s a move that is as surprising as it is effective, and helps to make the album’s closer its finest track. This one continually calls to mind an even more extensive list of influences without ever feeling overly derivative. A difficult task to achieve, undoubtedly.
It isn’t all bells and whistles, however. Due to some middling material in the first half and probably having one interlude too many, these 55 minutes do tend to feel a bit long, even if some of the best material comes later. The occasionally awkward moment adds to this as well, including the rather sloppy solo in “Gestaltenwandler.” Also, maybe tone down the china cymbal, boys. It’s a bit much.
Small gripes aside, Nahtrunar is definitely onto something, and small refinements ought to be enough for their sophomore effort to be an absolute stunner. As for Symbolismus, it is a fine debut that is sometimes more promising than it is wholly satisfying, but ignoring the quality within would be a mistake. There are times when this is merely okay, but when it is good, it’s nothing short of great.
