Tha-norr - Wolfenzeitalter
Review: Conquering space to turn it back Tha-Norr structure melodic black metal from simple complementary phrases and Romanticist melodies which emphasize the finality and evenness in precision of their conclusive progressions, creating music that often harmonizes dissonantly in order to order its process of rendering a continuous transition across tones resonant within a phrase. Essential material is derived through conjecture toward the space implied by consistent harmonization, and eventually, motifs distill and themes emerge which conquer this space in actuality.
In a process of moving through sequential harmonization or replacing a complementary phrase with a quick return across angular tonal relationships in wider leaps of interval, this band establish a universal cycle of energy meeting deconstruction that yields a resurgence of motion. Gently swinging rhythms guide complex phrasing through tempos altering themselves toward more essential forms between slowness and ripping speed. Vocals follow dominant tone and in a straight-jawed delivery accent the emergence of recognizable direction in conflict. Periodic rock-n-rollisms in lead guitar are tolerable in the tighter context of metal songs.
1. Tears for all those who died (6:36) 
2. Calling for the spirits of the elements (6:51)
3. Sathanas, Triumphator! (6:46)
4. Assault on aerie (3:16)
5. Bowels of my beloved earth (8:39)
6. Wolfenzeitalter (7:17)
7. The fortress will fall (7:58)
8. Fegefeuer (4:42)
9. Weltschmerz (4:18)
10. Tyrant of a new aeon (5:08)
Thoroughly shaped and well-conceived melodies form the basis of the internal power to this work, as prodded and held in place by deftly used and subtly constructed connective riffing, budget guitar work bouncing a few power chords across rhythm to carry continuity with cohesion. Self-minimizing melodies squirt from within these cyclic structures and in turn digest them, bringing this band closer toward the yin and yang of a few notes each which propels rhythm in looping. Concept in each songs is evident in the distinctiveness of phrasing comprising essential melodic thesis, as well as in image and lyric.
Lifting itself from linearity this music is unafraid to use the full palette of dissonant and consonant emotional linkage within variance to achieve narrative states of displacement from which full thematic opposition can be made to dominant or implied ideas, mainly composing this way not in harmony but in tone progression forming the basis for harmonic interaction. Excellent musicianship and inventive while spirited music makes real concept and spirit in the unity of abstractly coordinated motion.