I`m a big fan of Abigor and I have always been pleased with the work of their fellow countrymen Dornenreich, who, until now, utilized more or less the same Black Metal sound. This sound constituted by thin, trebly guitars, atmospheres built by piano and acoustic guitars and soothing medieval melodies somehow remind me of Haggard. Their music has always been very identifiable however – though maybe initially not entirely original – if only for their experimentation with traditional musical structures which in their case did result in excellent songs. Since their last offering dated from 2000 I was exited to see this new Dornenreich album, already announced and released late 2005.
Although quite distinctly Dornenreich this new album is an entirely different affair compared to their previous albums. Where ‘Bitter Ist’s Dem Tod Zu Dienen’ can be described as a Black Metal album strongly in lines with the aesthetics of Abigor and ‘Her Von Welken Nächten’ was mainly characterized by increasing experimentation within the realms of extreme metal, along with the incorporation of a whole range of haunted vocals, ‘Hexenwind’ is probably not destined for your Black Metal shelf.
The familiar elements are still there: the agitated, slightly unsettling atmosphere, raw sounding guitars, acoustic solos, whispers and clean harmonic vocals. What surfaces however is what could be discerned, at least in their previous effort (e.g. in ‘Wer Hat Angst Vor Einsamkeit?’), as their penchant for Gothic Rock. Gone are the fast parts, the double bass rithms and the dominant presence of synths. Gone are the abrupt changes and sharp contrasts between icy screams and female vocals.

On this five track album Dornenreich fully concentrate on typical Gothic tempos, low-key singing and the strength of repetition.
‘Hexenwind’ is a concept album about, in the bands own words, ‘nocturnal nature’ (and of course about a hag), and thematically expands on the previous album. The artwork shows quiet images of nighttime forests and the lyrics deal with myths and mystical questions. The album starts with a short atmospheric track that sets the stage for two songs built around repeating, dissonant and distorted loose guitar music. These are the focal points on the album of which the second one, ‘Der Hexe Nächtlich’ Ritt’ is the most accomplished: a composition of three main riffs that flow into each other perfectly, creating a dreamy pattern. Just before this might become predictable, acoustic breaks and solos interlude and finally the song ends with an ominous piano melody. These are followed by an instrumental with two strumming Spanish guitars and the finishing song ‘Zu Träumen Wecke Sich, Werr Kan’, which is more reminiscent of the slower parts of their last album.
After the initial surprise, I was absolutely satisfied with the result: the music is saturated with full-grown melodies, anxious and restless rhythms, interwoven with quiet moments…somehow on this album they seem to achieve a lot more with less. Since each album of the Aussies has shown development, I am very curious where their hag stops and concentrates on new spells. Until then I think each fan of dark music should give this new Dornenreich album a spin to find yourself a nice grove in their bewildering forest.