Published: July 18, 2013

Level languages ​​is often contrasts the " pretty supposedly sunny and flowery Italian regions, "fluid and singing, German guttural and laborious, the first referring to the second recalling it seems, the dark hours Europe of the twentieth century. Well no, the pictures enough! If our grandparents could thrill to listen to the Teutonic language, damn water flowed under the bridge since then. And Italian is a language mannered and frankly annoying, especially when talking about football! And what about the Goethe of Heine, of Beckenbauer, Schumacher (more Harald Michael for that matter)? No, the German is a language that can be very sweet and romantic, or those who know Empyrium Endraum know something. Not Rammstein, we will not cram this group every time we talk about German metal anyway! 

Frigoris understands this and his second album is to be classified in the group of delicate works (at least for the black-metal , right), imprinted with melancholy. Entirely sung in the language of the artists mentioned above, Wind offers the listener a ration of pagan metal pulling time on the gothic-doom. Some say that the group gives the black metal and can not give completely wrong, given the nature of the song my cousin Dominik and his guitars. However, the abundance of acoustic passages sometimes verging on folk (very Empyriens instrumental "Windgeflüster" and "Hauch") and some names of songs make me rather say that it is pagan. Indeed, a piece titled "Night of Spring" ("Frühlingsnacht"), not "Winter Night Horrible" or "Dark Night Black" indicates that it has been able to rise above the clichés characteristics of metal black. As for the qualifier gothic-doom, it is amply justified by a slow tempo, although "In Keim Entrunken" or "Wenn Die Maske Bricht" know speed up, the atmosphere of sweet sadness that emerges from the work, climate created by the sparing use of beautiful acoustic guitars and lead the integration of passages blown more than sung, as well as a beautiful female vocals on "Frühlingsnacht." 

 In reading the above, water can come be in the mouths of fans dark and poetic both metal so as to prevent them immediately: Wind does not really innovate and the album is nice, but never completely off. The only way that does not give the impression of having been often heard in the past is "Ode an Verlorene Seelen". Not that the use of a voice-over an instrumental piece is a true revolution, ask groups of industrial and ambient what they think, but it is true that this method is rarely used in the kind practiced by Frigoris. That does not make it as a gem, but it makes it interesting, as are "In Keim ertrunken" whose blend of rage and delicate passages is very well balanced and the famous "Spring Night" (poor trve German black metallers, they will have a syncope seeing a song title as blue flower ...) Other securities, they are rather flat, not unpleasant, but rather conducive to stall: cushy rhythm, not really catchy melodies, guitars a little bland, it is easy to get lost on the way. Wind is never aggressive to the ears but the foursome Essen leaves the listener a little hungry. 

 

 Frigoris The second work is a bit like a teenager nice and introverted. As shy as pâlichon, its actions are fair, but it does not even dare to step forward, often preferring to remain silent or answer questions by formulas. Wind can not really offend, but it is unfortunate that our artists have not been able to introduce a small dose of madness in this work well done, demonstrating the artistic sensibilities of its creators, but also a certain conservatism. The work should nevertheless find its audience among fans of bittersweet feelings and will be hoping that the third installment of the group can go one step further.