adg211288 Back in 2016 I discovered the Swedish female solo black metal artist Nachtlieder through her second album The Female of the Species. I was a bit late to the party at that point, as the album has actually been released the late in the year before, but The Female of the Species is one album that I count among my very best discoveries of 2016. The project of one Dagny Susanne, who does vocals and plays all instruments on her albums bar drums, which are handled by session member Martrum (both previously played together in black/death/thrash metal act Wicked), The Female of the Species was actually something of a sleeper hit with me. When I first heard it I couldn't say with honesty that what I was hearing was the most original take on a black metal sound – it's pretty much impossible to use the terms 'original' and 'straight up black metal' in the same sentence these days though – but it was clear right from the off that Nachtlieder had crafted a decent sound within the genre and that the album really packed a punch. When I reviewed the album, I didn't hesitate to award it a firm four stars.

Something happened then that I wasn't expecting. You see, there are a lot of albums like The Female of the Species that I'd give four stars too for being very solid examples of their genre even if they didn't really bring anything new to the table. For me, there is always room for a good honest example of music that is true to its style's roots and doesn't feel the need to dress it up with fancy frills from outside influences, which in today's black metal scene, often means post-rock or shoegaze elements. That doesn't mean I necessarily want to keep going back to one of them in particular over and over again. Only this time, with The Female of the Species, that's exactly what happened. It turns out that the album was one that had that something special that kept continually drawing me back time after time and during 2017 I eventually got to the point that I realised, although it was a respectable rating I had previously given it, that I had actually judged the release too harshly at four stars. Fast forward to 2018 and The Female of the Species now stands as one of my favourite black metal releases of the last five years.

This of course resulted in a lot of excitement for Nachtlieder's follow-up, Lynx (2018). While undeniably a more of the same release – black metal with none of those modern frills attached – it's quick to assert itself as a work that at worst, is only on the same level as it's predecessor and at best, far exceeds it. And let me just be clear about this, it's at its best far more often than it's at its worst, while that word also feels inappropriate to use when describing the album, though does provide a good emphasis on how much more immediate Lynx is to its predecessor. Eight tracks deliver a sound that captures a good balance between traditional black metal's cold atmosphere and production values that give the music clarity and allow Dagny's riffs to stand out rather than have almost everything lost within a lo-fi haze, an unnecessary way of producing this kind of music that both the founding fathers and countless disciples have for some reason chosen to employ, to continually mixed results that to this day give the black metal genre a poor reputation among fans of other metal genres. Albums like Lynx exist as proof that black metal can still sound cold and raw without being a mass of treble riffs that sound like they were recorded in a tin can.

Lyrically I do struggle with following Dagny's growls, but that's of little consequence when the complete package sounds this great and hits the eardrums this hard. Black metal is often about atmosphere even when it doesn't fit into the atmospheric sub-genre at all (like Lynx), but Nachtlieder manages to weld that with the kind of aggression found in records like Immortal's Sons of Northern Darkness. Rather than coming across like Dagny was unsure what she wanted it to be – cold and atmospheric or faster and riff based – we get treated to a perfect fusion of the two, where riffs will be thumping away, Dagny snarling over them and yet behind there'll be something atmospheric that will raise the level of the composition considerably. Every song on here could be used as an introduction to Nachtlieder's music and serve that purpose well, though for my money Dagny saved the best for last in Moksha, the longest song which is an absolutely furious hard-hitting beast.

Last time I reviewed this project's music, I had to own up to doing it a disservice. This time I'm both already familiar with the artist and have left it a bit longer before publishing a review of the album and I'm very confident that Lynx will continue to stand as one of 2018's black metal gems. It does seem a shame that, so far, not that many people seem have caught onto this project – so as a final word of advice, don't make the mistake that I almost did with the previous album, and make all efforts to change that.