Send "Dornenreich " Ringtones to your Cell 
| Sputnikmusic |
 Flammentriebe is a tragedy, in a sense, as while it is Austria’s Dornenreich’s best album, easily, it is also supposedly the last album that the Austrian black metal band will base on metal instrumentation – or at least, that is what the trio have stated in press interviews leading up to Flammentriebe’s release. So unified is the group on this 2011 album, that Dornenreich’s past so-called masterpieces of avant-garde black metal, 2001’s Her von welken Nächten and 2006’s Durch Den Traum, are merely sloppy jokes in comparison. If ever there was a Dornenreich album worth owning for any metalhead, it is this one.Flammentriebe takes many aspects of Dornenreich’s past releases and molds them into one, essentially. A slow-to-mid tempo pounding of guitar distortion, not so unlike the playing used by Germany’s Imperium Dekadenz on their Dämmerung der Szenarien 2007 album, makes up roughly half of the album’s contents, while the band uses violin player Thomas Riesner along with acoustic guitar playing in conjunction, in many cases, on the other half to add a progressive element to the black metal at play here. The result is often atmospheric and heavily melodic as well, yet akin to melodic black metallers Iskald or this year’s offering by Arafel this is not. Melodies rich and layered, aided in part by vocalist Jochen Stock’s thick accent, stick in the minds of listeners on each and every track, being controlled and always purposeful within the contexts of the individual songs. Vocally, Stock is at his best here on Flammentriebe, pronouncing his whispers in the more tranquil areas of the album for atmospheric peacefulness, while then spewing his snarls in the pouring occasions of distortion with a Thomas Väänänen-like vigor. It is here that Dornenreich draw some heavy comparisons to current-fellow tour mates Agrypnie, in not only Stock’s tone of voice, but also in how his melodies ride the guitar riffs of the music. Like much of Agrypnie’s work, the tactic is marvelous here, being much better in practice than any of the vocal tricks that were used by Dornenreich in the past. Indeed, past albums were often highly experimental and varied, instrumentally as well as vocally. But on Flammentriebe, the trio set out with a fixed set of tools and come out with nothing less than a memorable, wonderful set of songs. Never have Dornenreich sounded so unified on record than here, and the products of their songwriting show this....full text |
| Musicrisefromtheashes |
| Austrian band Dornenreich have been seen, over there relatively long career, mastering a lot of different musical forms combining and fusing a lot of genres together. Similar to Enslaved, Dornenreich mix Black Metal, Folk Metal, Progressive and Atmospheric styles in their work. While mostly all the bands earlier albums saw a more diversified sound in the form of Neofolk, Dark Folk, Ambient and Avant-garde influence (mostly a folk band in other words) the current path is still a welcomed one. I am more fond of the overall Atmosphere this band generally creates, and while I do miss their more classic Neofolk driven sound, the band still knows how to keep it interesting over the years. This is indeed one of Dornenreich's best albums, and is sure to be a huge early year highlight for most Metal fans. Keep an eye out for more Dornenreich's album work, as they have done collaborations and a compilation album recently for their label, on Whom the Moon a Nightsong Sings which came out last year. The compilation showcases a lot of Neofolk bands, including Dornenreich, and is a very dark oppressing and gorgeous album, which for me was a highlight of 2010....full text |
| Lordsofmetal |
| Vera: Austrian Dornenreich has always taken a special place in between the innovative bands of this world. Their music is far from accessible, but a genuine expression of deep-draught feelings, couched in cycles which overlap each other from time to time. The latest years they evolved more and more in the direction of acoustic music on their albums, with the most recent ‘In Luft Geritzt’ as summit of non-electric performance. With the return of drummer Gilvan, a return to the black metal roots began to occur. This evolution has carried through in their studio albums as well. They went to the infamous Studio E to record a new masterpiece with Markus Stock (Empyrium, The Vision Bleak). And a masterpiece is has become! Never before, the contrasts between quiescent passages and rigorous outbursts were that huge and it makes the entire thing very overwhelming. ‘Flammentriebe’ is a cycle at itself and starts very harsh with ‘Flammenmensch’, an individual that gives free rein to his frustrations in hesitating guitar sounds and whisperings, but then it sweeps you away in a vortex of sharp black metal guitars. The scream sounds as a knife in your back. What is the role of the violin in this regained fury? From the second track on we hear how Inve let his instrument go with this swirling flow in a magnificent manner. ‘Tief Im Land’ might be the most intricate, intense track, but the violin plays imperturbably on, full of grace with a wide range of enchanting melodies. The songs are longer again – going from five till eight minutes – so that every one of them can inn a wealthy amount of emotions. One of the most captivating songs is ‘Wolfpuls’, on one side aggressive with its droning rhythms and sturdy German language in the lyrics, on the other hand beautiful moments with acoustic guitars, violin and story-telling words. The gritty, grimy guitars show much dramatics, surely in ‘Wandel Geschehe’. It came to my mind that the violin sometimes takes the role of keyboards in these black metal songs. Every composition, also the energetic ‘Fährte Der Nacht’ and the slightly doom-like ‘In Allem Weben’ (another stunner in building up tension), work with a spectrum in which all colours of a prism are reflected. They go from an oppressive mood to ultimate relief. At the end of this catharsis, the cycle is full circle and we arrive at the peaceful and gentle ‘Erst Deine Träne Löscht Den Brand’ with sensitive melodies full of melancholy and compelling guitars, while there is only one sentence. This return to the ferocious beginning of Dornenreich’s existence – a link with ‘Her Von Welken Nächten’ is suggested – with the knowledge and craftsmanship of now, results in the best album I ever heard from Dornenreich! ‘Flammentriebe’ is unique and fascinating!...full text |
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