New Jersey’s Windfaerer may not be the most recognized name in the melodic black/death metal circles, but they have been profiled amply enough on our site’s pages. Such is often the fate – you come up with an interesting demo, follow that with a good EP, and next time there is a full-length, I happen to think to myself “Is it the same Windfaerer which delivered quality before? Why don’t I see where the band is today”.

”Today” for Windfaerer means the release of Tenebrosum, and the band very much continues down the path it chose for itself a few years ago, maybe bringing extra masculinity in its sound while cutting down somewhat on the overt melodicism. Windfaerer riffs are still hardship infused, life tested, windswept, all colliding into one wall of sound propped by the double bass or blasting rhythm section which is slightly over punched in the mix (in my modest opinion). This dense fabric gets punctured through by tortured characteristic solos which attract attention and carry remnants of native melodies with them. The whole outcome then is tired strenuous procession (especially in Finisterra) which can be both romantic and hauntingly melodic. Oscillating between Iberian Peninsula influences and buttressed by the extreme metal sound, Tenebrosum can be truly rousing in spots, dignity and sadness mixed in equal measure in songs like Finisterra or The Everlasting. If one wants to get a sense of Windfaerer melodies just take a listen from the middle of The Everlasting, where minor tonality just slices pieces from the listener’s heart.

The band does very well not to abandon the use of violin. The instrument is truly a distinguishing factor for Windfaerer, the fast fiddle work most prominent on the instrumental Santeria, or providing the weave around non-stop fast guitars in The Everlasting. When the music slows down in Tales Told in Oblivion, and clamoring guitar stretches the feel a bit, violin fills the space right before the moody break. On the other hand, vocals by the band ratcheted down the vomit factor, which is good, and became more wailing, harsh enough, yet towering high, further reinforcing the feeling of romantic sadness. In this sense only the closer The Outer Darkness stands out. Most pummeling, it is crazy, weird and bouncing off the wall, Anaal Nathrakhy in a sense, both disturbing and coming from a disturbed mind, even the fiddle work here being angular and twisted.

Not sure I like the direction of The Outer Darkness, I prefer Windfaerer to remain that oasis of folk tinged melodic black metal they have been to date. Mature effort in more ways than one, Tenebrosum was mostly that.