The one-man band Harlinger, whom I discovered through his debut album Kinderschreck, is undoubtedly one of the best discoveries I’ve made since launching my fanzine. Hailing from Germany, this black metal project is set to release its second album, Teufelsmühle, on 4 April. The album will be available in digital format as well as on CD Digipak via an independent release. If any readers are interested in the band, they can read my review of Kinderschreck or my interview with the man behind the project, J.B.
Album Review: "Kinderschreck" by Harlinger
Teufelsmühle is an album featuring nine tracks with a total running time of 36 minutes and 58 seconds. The one-man band delivers somber black metal, driven by dark and heavy atmospheres, with striking shifts in tempo as heard on Die Kunst, wie man Brunnen versiegen macht and Was auf der Mühle stirbt, bestimme ich. The album is both melodic, particularly on K.antorka, and raw in its approach. The composition remains heavy overall, but is punctuated by bursts of speed at various points across different tracks. Certain passages take on a more melancholic tone, as on Tonda. Amidst this whirlwind of violence, quiet, acoustic passages, such as on Trümmertanz (und ewig, stets die Nacht), add a new dimension to the songwriting.
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| Cover Art by Sacred Azoth |
The vocals oscillate between sharp, piercing delivery and a narrative style reminiscent of invocation ceremonies. I particularly enjoyed the vocal performance on Teufelsmühle and Die Kunst, wie man Brunnen versiegen macht. On certain tracks, such as Tonda, there is a palpable sense of bitterness combined with nostalgia. A fine display of vocal power stands out on K.antorka from 2:41 onwards. As for the production, it remains true to the genre and offers an immersive listening experience, typical of black metal, which will appeal to worshippers of the genre.
One of the moments I enjoyed most was the introduction to the track Teufelsmühle with its menacing atmosphere. I loved the way the instruments pick up speed from 1:30, then, at 2:12, striking melodies take centre stage with keyboard notes in the background, before the atmosphere really sets in from 3:38. On Die Kunst, wie man Brunnen versiegen macht, the vocal performance delivers a powerful scream from 0:50 (one of the most striking on the album), followed by an instrumental outburst in a controlled frenzy (it’s clearly one of my favourite tracks). On Tonda, I particularly liked the melodies and songwriting from 4:22 onwards. On Trümmertanz (und ewig, stets die Nacht), I appreciated the raw drumbeat from 1:35 onwards.
To be honest, I’m surprised by this album, which stands out clearly from their debut. Teufelsmühle is far more focused on a violent, brutal pace, whilst featuring passages that are raw, melodic, heavy and at times melancholic. It’s black metal that fully embraces the genre’s aesthetic. It’s an album I’ll undoubtedly enjoy listening to again and again.
