Nachtmystium, Assassins - Black Meddle Pt.1
Getting their start in the late 90’s as a straight forward black metal outfit, Nachtmystium has slowly through the years altered their sound with each subsequent release. It’s a natural progression for any band that’s been through a few albums. With their latest release, Assassins: Black Meddle Pt.1, the Chicago outfit’s music is still based on a core black metal sound, but now there are several more influences added to the mix.
Throughout the album, you’ll be presented with blistering black metal blasts mixed with Pink Floyd (and other 70’s prog rock bands) influences that take the band’s sound in a much different and interesting direction. Pschodelic and ambient elements coexist with raw black metal screams in a joint effort that really shouldn’t work musically — but it does, and Nachtmystium are at the forefront of this new, spacier black metal journey. Vocalist Blake Judd does his part to set this latest effort apart from the band’s previous work. Stepping out of that comfortable black metal scream into more cleanly delivered shouts and choruses to great effect.
One of These Nights
The opening track is a sub two minute intro that sets the mood for the rest of the album. The first 50 seconds or so is just wind noise before memorable riffing and drum work comes in. Layered, whispered vocals come in right before the end of the track.
Assassins
“Assassins” transitions smoothly from the galloping guitars for the opener into a full on chugging black metal assault. The vocals are screamed and distant. The chorus on this one is pretty catchy and will have you shouting along in no time. There isn’t much of that ambient, spacey prog worship that we’ve heard so much about during the songs first half. Following the sick solo at the 1:55 mark, Nachtmystium explodes into driving beats and memorable guitar work. The more psychodelic sounds come into play after the three minute mark with churning bass and spacey keyboard atmospherics added to some light guitar work. The spacey sounds continue along with unrelenting drums that make for a confusing, yet fully pleasurable experience as the track ends after eight minutes of sonic glory.
Ghosts of Grace
I can’t imagine how one would follow up that last song, but the group forges on with “Ghosts of Grace.” The song opens up lightly with steady drums and a stoner feel to the guitars and bass before shifting into a blackened bit of darker metal after the 30 second mark. There’s a slick groove flowing through this one like acid through the veins. This one has smoothly injected melodic moments that temper the driving pace nicely. The song fades slowly with some keyboard noise at its end.
Away From Light
A dark bit of atmospherics and light guitar work are all that exist on “Away From Light.” The ambient interlude ends after just over 2 minutes.
Your True Enemy
A huge scream and explosive drums erupt at the onset of this next song. This thing is beastly to say the least. It’s much more aggressive and violent than the previous tracks, yet still has memorable and melodic elements that help accentuate the tracks ferocity. The track just as abruptly as it has started.
Code Negative
Light, melancholy guitar work starts off this one with an ambient feel. The riff is memorable and soulful as whispered vocals come in from the distance. Eerie guitar work and creative drumming are highlights to the first three and a half minutes before it goes briefly silent and a soulful, yet dark series of notes come from layered guitars. As the guitars progress ambient, keyboard noise and light drumming come in creating a dark and forlorn mood that leads into a soaring solo just after 4:50 mark.
Omnivore
“Omnivore” opens up with a belch-like grunt and chugging guitars. Pummeling drums carry you along as gruff vocals come in and get thunderous just after the one minute mark. There’s a great series of explosive activity after the 1:30 mark that helps pick up the tempo, yet doesn’t overwhelm the spacey, psychodelic noise that accompanies the blasts. This is a fairly trippy ride through bleak tones.
Seasick Part I: Drowned at Dusk
Next up is the first part of the “Seasick” trilogy of songs. The first third of the series has acoustic guitar, light drums and spacey atmospherics to start it off. This could definitely be something that Pink Floyd may have explored in their darker moods. Melancholy and trippy tones dominate the track.
Seasick Part II: Oceanborne
The tone and pace is picked up slightly with the second part to “Seasick.” Initially a memorable bit of guitar work, thick bass and tripppy noise get the song moving along with creative drum work. Before the first minute is through, the song shifts with a soulful lead and what sounds like smooth jazz horns. This song is all over the place in terms of it’s influences and elements.
Seasick Part III: Silent Sunrise
Part three of the trilogy carries over the dark, warbling atmospheres that ended part two as memorable guitar and steady drums come in. The first vocals of the trilogy come in at the one minute mark. The group vocals are trippy and dark with a slight echo to them.
~ ~ ~
Assassins is surely to be one of the more polarizing albums of the year. Fans of the band are either going to completely hate it or fully embrace the pioneering efforts of Nacgtmystium. From the raw, bare bones aggression of “Ghost of Grace” to the Pink Floyd inspired, trippy trilogy of “Seasick” the band has pushed the envelope of black metal incorporating elements of Psychodelia and progressive rock into one hell of a mental journey.
Favorite Tracks:
All of them
Additional Notes:
N/A