Waldruine is a German Black Metal band. The band was established on Winter Solstice 2021 in Lower Saxony. The band embraces a dark and occult musical style, with lyrics focused on themes of occultism and Satanism. On August 1st, 2024, Waldruine released their debut full-length album, “Nachtmeerfahrten”. The album was released through Hammerbund.
Waldruine Social Links
The First Three Sins of Nachtmeerfahrten
Let’s start by discussing the first three sins of Waldruine and their album, Nachtmeerfahrten
The First Sin, The Strings/Keys: Featuring fierce and twisted riffs with a haunting and atmospheric. Solid bass riffs that form a solid foundation for the music, while the keyboards, strategically deployed to emphasize the ominous tone of the music. The Second Sin, The Vocals: Characterized by a dynamic interplay of bloodcurdling screams and guttural growls. The Third Sin—The Percussions: Drum work seamlessly transitioning between frenzied outbursts and more controlled rhythms, propelling the music into a tumultuous frenzy.
The Fourth Sin: Overall Discussion:
Gentle evil mist that gracefully drifts out of one’s speakers and embodies the essence of authentic traditional Black Metal.
The moment the listener presses play, they are greeted by the opening track, Initiation-Einmarsch, which envelops them in a haunting atmosphere filled with the cries of crows, twisted guitar riffs, eerie organ arrangement, and rhythmic marching beats. This sets the stage for the experience ahead. This unsettling journey bursts forth with the second track, Totenkopf-Matrix, leading into the following seven pieces that weave together a dark and relentless odyssey.
Waldruine‘s album, Nachtmeerfahrten, delivers a relentless forty-nine-minute journey through nine tracks that immerse the listener in a shadowy and enigmatic realm. The music embodies the essence of authentic traditional Black Metal, featuring fierce and twisted riffs with a haunting and atmospheric quality. Additionally, elements of Scandinavia’s second wave can be felt throughout the songs, inviting a sinister and orthodox ambiance that seeps into your very soul.
Nachtmeerfahrten enchants the listener’s spirit with its alluring artistry in composition and arrangement, inviting them on an exploration of lyrical, musical, and instrumental wonders. This album defies any rush, instead diving deeply into a thoughtfully developed lyrical narrative that unfolds at its ‘own’ pace, revealing a rich tapestry of artistic expression. As you immerse yourself in the nine darkly tracks, each one resonates with its distinct sound, key, tempo, mood, and arrangement — showcasing the intentional placement of every note and rhythm. The careful orchestration of riffs, keys, and drums, combined with unholy vocals, is executed with remarkable precision. As if a shadowy creativity meticulously weaves together this forbidden fruit of art, ensuring that every component finds its perfect spot within the darkly enchanting world of Nachtmeerfahrten.
Nachtmeerfahrten is all cloaked in a production, that does the overall sound and recording justice, which impeccably captures the true essence of black metal. The music is skilfully kept old-school, preserving its raw and authentic sound. Each instrument is expertly orchestrated to conjure up a haunting and immersive atmosphere that aligns perfectly with the themes of the songs. N.N. Libra‘s devilmanship shines through in the aggressive yet mesmerizing riffs that infuse each track with a sense of ritualistic mystique. Meanwhile, Chr., devilmanship contributes solid bass riffs that form a solid foundation for the music, and his dynamic vocals effortlessly switch between bloodcurdling screams and guttural growls, intensifying the overall darkness of the music.
Adding further depth to the sonic tapestry are the keyboards, strategically deployed to emphasize the ominous tone of the music, with standout moments like the haunting passage in Todes-Fluch: Neidstange showcasing their eerie effectiveness. Valar Morghulis drum work, plays a pivotal role in heightening the tension, seamlessly transitioning between frenzied outbursts and more controlled rhythms, propelling the music into a tumultuous frenzy. Within the haunting melodies, subtle whispers lurk, enhancing the enigmatic allure of Nachtmeerfahrten‘s sonic landscape and enveloping the listener in a shroud of mystery that lingers long after the music fades.
Nachtmeerfahrten is an album that will enchant enthusiasts of classic and orthodox black metal. Its production and songwriting pay homage to the 90s, enveloping listeners in a haunting atmosphere. Waldruine has successfully harnessed the mystical spirit that defines the genre.
Waldruine delivers a sinister auditory journey, that is a forbidden fruit of art, making it essential for anyone who appreciates the dark, sinister, and occult aspects of Black Metal. Particularly, those who are devoted to the German and authentic Black Metal scenes.
The album wraps up with its last track, Epilog-Eschaton Rites. This piece greets the listener with eerie keyboard melodies, rhythmic marching beats and dark incantation-whispers, bringing the dark journey to a conclusion. We want to give a shoutout to Waldruine for letting us review their album Nachtmeerfahrten. Now, we are going to conclude the review by talking about the final three sins and concluding the review.
The Last Three Sins
Let’s discuss the last three sins of Waldruine and their album, Nachtmeerfahrten
The Fifth Sin, The Memorabilia:
For me, where do I begin with Waldruine‘s album, Nachtmeerfahrten? An album that delivers a dark, atmospheric and relentless forty-nine-minute journey through nine tracks. Music that is a fruit of art -from the arrangements, composition, lyrics, guitar, drums, synth, vocals, and (tight and well executed) devilmanship. What I sincerely love about Nachtmeerfahrten is that each track, yes the tracks are long, and keep you hooked, and unwilling to let go!
Waldruine‘s album, Nachtmeerfahrten, I find myself deeply immersed in a dark, atmospheric, and relentless musical journey that spans forty-nine minutes across nine darkly hymns. This musical fruit of art, is a genuine reflection of artistic and devilmanship creativity, evident in the intricate arrangements, compelling composition, poignant lyrics, skilled guitar and drum work, haunting synths, emotive vocals, and overall devilish charm that permeates each piece. What sets Nachtmeerfahrten apart for me is the exquisite balance found within each track — despite their length, every song offers a unique sonic experience, exploring different sounds, moods, tempos, and atmospheres. The cohesion of these various elements is akin to a gentle evil mist that gracefully drifts out of one’s speakers, ensuring that no single component overpowers or diminishes the impact of the others.
Inviting listeners to embark on a sinister and occult auditory journey with a lot of depth and a well-thought-out lyrical concept.
The Sixth Sin, The Artwork:
The artwork presents a distinct approach. In my view, a crucial element in conveying this ominous ambiance, reminiscent of the band’s music, is the incorporation of a fillet, which enhances its sinister and darker qualities.
The Seventh Sin, Disrelish:
There is nothing to dislike in the musical offerings of Waldruine and their album, Nachtmeerfahrten. Thus, we conclude our review of Waldruine and their album, Nachtmeerfahrten. I would like to take this opportunity to express my gratitude for your time in reading this article, and I encourage you to explore the work of Waldruine as well as Hammerbund.
Members
The current lineup consists of N. N. Libra (guitar) and Chr. (vocals and bass). Their drummer, Valar Morghulis, departed from the band after the recording of “Nachtmeerfahrten”. 1
Track-Listing
01. Initiation: Einmarsch
02. Totenkpf-Matrix
03. Das Gestz des Trapezoeders: Die elektrischen Vorspiele
04. Todes-Fluch: Neidstange
05. Septem Passus Draconis Magni: V.I.T.R.I.O.L.
06. Das kriechende Chaos
07. Ubique Diabolus
08. Daimon Vortex
09. Epilog: Eschaton Ritus
- Trivia: The band includes a female guitarist, which is noteworthy, as women are a minority in the black metal scene. ↩︎
