Time for another black metal review. It has been fun discovering various records through deep searching, but it also has been fairly frustrating. So many of the acts I have found caught my attention based on influences, style, and album covers and ended up just being mediocre, uninspired, or outright horrific. I’ve wanted to review a good amount of them. Then I considered the amount of other records from various other genres I want to review, the limited time available, and the fact that many are underground artists that I do not feel like bastardizing without a stable fanbase. So for now I’m looking to just stick with the good records and the big names from black metal.

That brings us to Fluisteraars, a duo that has one hell of a chance of making waves through the Dutch black metal scene with their newest record Bloem. They’ve always had a defining sound to them focusing on subtle nuances within straightforward yet effective arrangements. What set them back, at least in my eyes, was there production that gave their albums a rough atmospheric edge that muddied up a lot of the interesting factors. On Bloem, that complaint is rendered irrelevant now that the production is immaculate. Seriously, the mixing is outstanding giving every instrument breathe and the sound quality is beautiful. Probably the most beautiful production in black metal before hitting an artificial plasticky sound or turning into blackgaze.

Being only 33 minutes in length, Bloem makes great usage of its shorter runtime. Mink Koops plays every instrument for Fluisteraars and his performances are tight and mesmerizing. Guitars come through in waves making for a dynamic listening experience. Brisk guitar tones trade off with more warm, comforting tones creating a collection of vivid scenes and emotions. Very reminiscent of spring with this middle ground of temperatures that match the album cover. Helping are the drums and bass that are constantly riding the waves switching through patterns appropriate to the tone. The drumming helps with these beautiful progressions that evolve from slower pacings accompanied by the welcome inclusion of tambourines and brewing into storms of blast beats encapsulating the guitars for the sound of beautiful chaos. On the other hand, the bass guitars meander in an echoing fashion smoothing out the chaos and controlling it so it never feels overwhelming.

Accentuating the beauty further are the restrained acoustic sections that appear on the last couple of tracks “Vlek” and “Maanruïne”. Their placements are meaningful unlike a good amount of metal records that become lethargic from their overuse. Both tracks ease into the acoustics by giving the aggression a moment to settle and stretching a singular guitar into the beginning. “Vlek” is brief in its acoustic segment while “Maanruïne” is slightly longer and includes a somber trumpet that foreshadows Bloem’s end. Their placements on the final tracks are great to the overall flow of the record juxtaposing the slightly harsher first half of “Tere Muur” and “Nasleep” separated by “Eeuwige Ram” and its atmospheric focus. “Eeuwige Ram” also eases into the more anthemic and uplifting vibe of the second half of Bloem.

In addition to the acoustic segments, Bob Mollema’s shrieking vocals are also utilized sparingly. They mostly appear on the explosive climaxes allowing the instrumentals to speak for themselves everywhere else. I also found the spastic and glitched out vocals on “Nasleep” to be a short moment of excellence. The details across Bloem may be minute, but are incredibly satisfying and interesting. “Nasleep” fades out in the middle momentarily and introduces soothing pianos during that segment. Across the back half orchestral strings can be heard in the back of the production sneaking its way into the mix. The choir vocals at the end of “Maanruïne” are a perfect send-off for the record before ending in acoustics. I do wish “Tere Muur” offered more moments like these though.

I won’t lie, Bloem refused to fully click upon first listen. That’s part of the magic though. Fluisteraars made one of the best records that I would describe as a slow burn. At a glance it is a great slice of solid and clean black metal. Underneath the surface, Bloem blossoms into a display of detailed artistry and careful craftsmanship. This record is a breath of fresh air in the midst of a year of dark, brutal, and relentless black metal. It’s expressive qualities and near-indescribable beauty will probably go unmatched this year within the genre. I would even go as far to say that these qualities make it the perfect introduction for those not yet familiar with black metal.

Favorite Tracks: “Nasleep”; “Eeuwige Ram”; “Vlek”; “Maanruïne”

Rating: 9/10

Released: 02/28/2020

Label: Eisenwald Tonschmiede

Genre: Black Metal

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RATING SCALE

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