Sterbender Traum

"Sterbender Traum" (German for "dying dream") has an overall solid and clear production, which is largely independent and exempt from worn-out (and error-prone, in the wrong hands) Black Metal clichés, although a fair amount of attention has been spent on a tasteful interpretation of the hallmark washed-out Black Metal guitar sound, which unfolds to a gratifying effect during passages in which a diligent application of wide chords adds significance and weight. The drums are well discernible, yet somewhat tubby and buried under vocals and guitars, which are dominant in the mix. The bass is best heard in mid tempo passages.

The main vocals are located between the unearthly screeches of Burzum and the pained cries of At the Gates, and while this is by no means a bad blend, it somewhat lacks the aforementioned artists' naturalness and variability. This however is fully made up by the appearance of a second voice, which is clear and of a solemn nature, playing a strong complementary role in choruses, antiphonies and epic recitals which are often accompanied solely by an acoustic guitar. Whether it is the same singer performing both voices is unknown to this reviewer, anyhow Hagal's vocal department is equipped with ample expressive power.

The acoustic parts are sometimes overusing pathos and weltschmerz, and Hagal's work as a whole does not tempt to meet the wrath and hatefulness of Norwegian heritage Black Metal. In return, the lyrics (which are all sung in German) are almost exclusively about nordic mythology, and in so far the "pagan" attributation of Hagal seems appropriate, although it is more prominent in spirit than guise: Barring from rare and hardly noticeable exceptions, Hagal abstain from potentially cheese-inducing, pretended folkloric and "heathen" instrumentation, and even more so from the use of synthesizers. For the most part, Hagal is pure Black Metal - with pagan lyrics and frequent acoustic interludes.

The predominant feeling to Hagal's music is that of simplicity and scantiness - unsurprisingly, "karg" (German for scant) was the title of their debut. As a stylistic handbook this works adorably, because in subordination to the idea of simplicity and in sorting out distractions, the listener's attention is unerringly channelled towards Hagal's serious songwriting abilities, which are rooted in an ideal of unambiguity and distinctive chord progressions with melodic coherency and continuity as their driving forces.

Hagal avoid riff-salad and raging blast beats, and concentrate on melodic accentuation, which is mostly performed throughout passages of persevering fast to mid tempos. All melodies are linear and comprehensible, and albeit carrying grave and grievous moods, for the listening customs of an underground Black Metal crowd only just not too predictable. It is this terse space out of which Hagal haul their melodies and elaborate on themes from German mythology, accentuated by chords which are heavy not necessarily in tone, but impact.

The outcome is that Hagal can play in the highest league of Black Metal, just with a slight disquiet remaining: This band has seemingly found a way to climb and touch the Olympus, but (in this release) fails to fully seize it - their work is dependent on a regime of asceticism and precise craftsmanship, devoid of decadence and therefore not entirely artistic. Recommended.