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██▌ Artist...: Nachtmystium ░▐██▌
░▐██ Album....: Blight Privilege ░██▌░
▓▐██ Year.....: 2024 ▓▐██▓
▓▐██ Rel. Date: 2025-04-20 ░▐██▓
▐██ Genre....: Black Metal ██▌░
░ ██▌ Label....: Lupus Lounge ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Artbook Edition ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Survivor's Remorse 7:35
2. Predator Phoenix 4:32
3. A Slow Decay 6:32
4. Conquistador 5:10
5. Blind Spot 6:35
6. The Arduous March (22 Full Moons) 7:30
7. Blight Privilege 6:26
8. Banished 7:53
52:13
Back in the 2000s black metal had a bit of a big spotlight thanks to
what was nebulously described as the ôthird wave of black metalö out of
the US, and regardless of how you apply that description, Nachtmystium
was a name that was well regarded, at the time at least. Yes, the band
has a bad rap on account of frontman and founder Blake Judd, who due to
circumstances related to addiction and unsavory merch scams, has become
a maligned black sheep in the world of black metal, though I find it
ironic that some metalheads will make a lot of excuses for bigotry,
assault, and even homicide, or worse, but draw the line at scamming and
bootlegging, but I digress. After a prolonged period of silence and
attempts at retiring from black metal altogether, Blake Judd has
resurrected Nachtmystium once again with Blight Privilege.
Anyone familiar with NachtmystiumÆs music knows that the band really hit
their stride when Judd started incorporating elements of industrial,
prog, post-punk, and everything in between within the context of black
metal. Despite going through a lot of trials and tribulations, Blake
JuddÆs talents havenÆt diminished in any way, if anything he sounds
rejuvenated. For starters, this record is the most hard-hitting and
intense Nachtmystium has sounded in over a decade. The album opens with
the morose 'SurvivorÆs Remorse', after an appropriately off-kilter
dialogue sample the track roars with blast beats and JuddÆs signature
style of tortured riffs, which are then complemented with sorrowful
synths.
Before I get into the music, I want to highlight the performances, not
just Judd, but his new session drummer, Francesco Miatto, who is not
just an excellent drummer, but his eclectic and dynamic drumming really
makes JuddÆs compositions soar. From blast beats to more rhythmic proggy
beats and even some d-beats, MiattoÆs drumming is by far and without
exception the highlight of the record from beginning to end. But thatÆs
not to say Judd is slagging, on the contrary, I already mentioned how
the band sounds rejuvenated, and thatÆs in large part due to Judd being
able to overcome and survive the demons that plagued him in years past,
and you can hear it in his signature anguished vocals, his excellent
riffage, the way he plays the synths and his songwriting. ThereÆs a real
sense of catharsis in the songs, despite how oppressive and despondent a
lot of the musicÆs atmosphere and mood is. The overall experience is a
sense of survival, going through the darkest tunnel and making it out
alive, exhausted, beaten, and drained, but alive nonetheless.
Additional props have to be given to the rest of JuddÆs collaborators,
who not only helped to crystalize his vision, Matt Thomas providing
additional solos and even lap-steel guitar for some bizarre but catchy
soundscapes, and Ken Sorceron who aside from mixing and mastering the
album (more on that in a bit), plays the bass, and much like Miatto,
SorceronÆs bass lines are outstanding, serving not only as backing to
the guitars, but providing a groove and depth that enhances the musicÆs
aggression and melody.
The final aspect I want to highlight is the production, and this is
where I do have some minor gripes, mainly in how the instruments
coalesce together, while IÆm not going to fault the band, or rather
project as it is now, for not sounding very organic given how Judd is
now operating Nachtmystium as a studio-only endeavor and working from
his home, the overall sound does come off a bit compressed, not loud,
but for example, the synths and guitars are a bit too overwhelming in
the mix, they overshadow a lot of the bass and drums, the vocals are
also slightly overemphasized, and while Judd still sounds good, the use
of reverb makes the vocals louder than they probably should, at least
for my taste, and the guitar solos while great, also take a lot of space
in the mix.
While the overall production does come off a bit unbalanced and messy,
Judd and co. managed to save it by performing at the top of their game
and the excellent songwriting still manages to shine. So in that sense,
this come-back record is as good as it couldÆve been. It displays the
best elements of Nachtmystium while feeling fresh and renewed, and while
we (and Judd himself) donÆt know what comes next for Nachtmystium, this
was a great new entry into a near flawless back catalog of extreme and
experimental metal.
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