Wilytank Winter themed atmospheric black metal mixed with depressive black metal was an inevitable concoction, but I am very impressed with the way G.B. pulled it off on 'Melancholie²'. It captures wintery essences very well: bleak and beautiful at the same time. The artwork even goes along with it quite nicely as well. The music does remind me of snow falling hard enough (but not windy/blizzard-like) to obscure the background in a haze of white. It is through this haze of white that the journey through this album took me.

The first four songs seem to represent the snowfall during the daytime while the rest seem to represent the nighttime using the lower key. The process of transitioning through the two types of scenic sounds is quite intriguing. All of the music is slow to mid-paced with a good amount of tempo transitions to be found including some slower blastbeating (definitely faster but not blizzard-like like Paysage d'Hiver). There's also "Tortured by Solitude" which is mostly mid-paced, and two ambient pieces "Winterreise", falling into the daytime category; and "Stille", falling into the nighttime category.

Throughout this album, there's plenty of atmosphere to be found. The slow, melodic black metal music is almost always accompanied with a background keyboard; and, obviously, it sounds cold and sorrowful. I do like the inclusion of a violin/viola/whatever in "Tortured by Solitude" and "Hymn to Eternal Frost"; the former is a designated (by me) "daytime song" and the latter is a "nighttime song", so you get to experience both ends of the spectrum.

What other little tricks are used in the album? The bleak, mood setting intro to "Dream of a Dead Sun"; sweet sounding calm guitar segments in "Dream of a Dead Sun", the end of "Red Snow" continued into "Stille", and in "Hymn to Eternal Frost"; the clean background vocals in "Dream of a Dead Sun"; the semi-choral sounding "ahh"s at the end of "Hymn to Eternal Frost" and in the background at the end of "My Dead Bride"; and "Escape", probably the most experimental piece on the album. "Escape" is really a weird mixture. There's the calm sounding guitar notes and keyboard ambiance, sure, but there's also some electronic style drum track going on in the background for the first part of the song. Another part of the song puts the raw sounding black metal instruments and less electronic sounding drum playing into the mixture along with more prominent sounding keyboard notes and eventually the violin as well. "Escape" is the only song on the album that doesn't seem to fit into either the "daytime" or "nighttime" sides that I establish; it's a dimension all it's own, and for that it was the best song to end the album with.

So that's another winter album for everyone to enjoy. The depressive flavor seems like an obvious variation, but for some reason, ColdWorld is one of the few bands that can actually make it sound great.

Conor Fynes 'Melancholie' - Coldworld (10/10)

Whenever a conversation regarding the style of black metal comes up, its often only a matter of time before the talk about music gives way to a recycled banter surrounding a murder in the early '90s and church burnings that made the style infamous in the eyes of the public, as well as something of an unfortunate joke to many outside of the sound. The sad truth is that the misdeeds of a few Norwegian teenagers have ultimately cast a veil over the vast and diverse web of black metal, and that becomes even more of a shame when I hear such beautiful music like this. Coldworld is a one man project masterminded by the reclusive German Georg Borner, and although only making one EP and one full-length available to date, Coldworld has become something of an underground legend in depressive black metal community, and as the full-length aptly titled 'Melancholie' powerfully indicates, it really is not a name that will ever be forgotten as long as black metal is around.

The black metal that most outsiders are somewhat familiar with revolves around satanic idolatry and violent imagery, but Coldworld treads down a different wintery path, although the topics are arguably just as pessimistic. Suffice to say, Coldworld's music is labelled as 'depressive black metal' for a very good reason, and the sort of stories that G.B tells with his music often revolve around crippling loneliness, the loss of loved ones, and the only conceivable way to escape the all-encompassing darkness; a slow and brooding suicide. Sadness is an emotion that has inspired some both incredibly moving, and awful music, but Coldworld handles these dark feelings with a sense of class and what only sounds like a deep sense of sincerity. This is not an adolescent cry for help channeled through amateurish music, this is an album with a sound as vast as the ocean, and even a glimpse of hope through the snowy fog of despair the album crafts over the course of an hour.

For an album that has a relatively firm grasp of its subect matter, it is ironic that the lyrics here are barely intelligible. This is not so much a fault of G.B's raspy vocals as it is a choice to mix the vocals fairly low in the mix. This may be frowned upon by some, but it gives the vocals a chance to blend with the rest of the sound. The instrumentation here teeters between classically-inspired guitar riffs and textures, and even more sombre sections of ambiance. The metal aspect of Coldworld is filled with highly melodic guitar work that has a feeling of romantic devastation to it; even without the fairly sparse vocals, Coldworld creates a sound that instantly brings near-cinematic feelings of loss. The drums are straightforward and stay laid back throughout most of the album, this is not the blastbeat-writhing black metal; much of the music on 'Melancholie' could even crossover into the realm of doom if there wasn't such a light and textures-based approach to the guitars. On an added note, G.B brings in a few non-metal instruments to deepen the sound, including a violin, and even some electronic samples and the eerie theremin on the last tearjerking track 'Escape'. Some may find it a little tough to warm up to those sounds in depressive black metal, but it works beautifully.

The music is beautiful, and although the album can feel like it could use a little change of pace from the despair over its course, it ultimately works beautifully the way it is. 'Melancholie' is the soundtrack to discovering a loved one has cancer, and kissing them as they die in your arms. Not only is Coldworld's debut my favourite depressive black metal record, but among my favourite black metal albums ever, and while the sense of depression and sincerely devastating emotion may not strike everyone the same way as it did me, I cannot voice my love for this album enough.

UMUR "TheStarsAreDeadNow" was originally a demo release by German atmospheric/ post black metal act ColdWorld. The demo was originally released in January 2006 in a limited 50 Pro-CDRs version but was re-released (again limited to 50 copies) in March 2006 with two bonus tracks. "TheStarsAreDeadNow" was released as a vinyl EP in May 2008 limited to 287 copies (100 on white vinyl). In other words a very rare release. ColdWorld is a one-man project and G.B. plays all instruments and sings on the EP.

The music on the EP is melancholic and atmospheric post black metal with some really majestic moments along the way. The vocals are harsh black metal rasps. The pace varies from blasting to more mid-paced parts. With titles like "Hate", "Cancer" and "Suicide" it´s not hard to imagine the lyrical universe on "TheStarsAreDeadNow" and the music definitely follows suit. While the music is at times pretty harsh there´s a melancholic beauty in the songs that makes the music stand out from other acts with a similar sound. G.B. is excellent at creating melancholy and an atmosphere of despair in his music.

"TheStarsAreDeadNow" is a very promising first release by ColdWorld and considering that this was originally a demo the sound quality (while being somewhat lo-fi) has turned out allright. A 2.5 - 3 star rating is deserved.