Dargaard
In Nomine Aeternitatis

November 2000. Two years have passed since the release of "Eternity Rites", and the Austrian band is ready to once again make our speakers' membranes vibrate with their melancholic neo-classical darkwave.

The Latin title already takes us back centuries. "In Nomine Aeternitatis", or "in the name of eternity", immediately highlights the connection with the previous work, both stylistically and thematically: sounds with an ancient flavor, darkness, decay, anguish, and above all the poignant relationship with the concept of "eternal" continue to frame the 11 tracks of the album.
After all, the songs in this new collection were composed during the same period close to the band's formation (1998-1999) that saw the birth of "Eternity Rites".

The album opens with "Dark Horizon". A slow start, accompanied by the spectral singing of the usual Elisabeth Toriser and the hypnotic toll of a bell, quickly gives way to an aggressive counterpoint of violins and deep percussion in which the lyrics (in German) are articulated. It is followed by a ballad ("Underworld Domain") dominated by a suffering arpeggio and the "lament of the soul" of the female voice.

An instrumental interlude in continuous crescendo over the constant "chime" of the strings ("Phanteon In Flames") is followed by a more epic-toned track ("The Infinite") introduced by a dark voice. The track creates one of the most beautiful atmospheres on the album with lyrics that express, more or less resignedly, the infinite number of ways that can be taken in life and the inability to choose them. Another interlude ("Temple of the Morning") breaks for almost two minutes the anguish of the previous track with a melody not devoid of pathos but still more sunny compared to the gothic existentialism of The Infinite.

The first song in Latin on the album follows: "Caverna Obscura". Another arpeggio and skillful percussion accompany the female chorus that closely resembles the Gregorian chants of medieval Christianity (with the difference that in those times, women were prohibited from singing in such circumstances...). Yet, a particular emotional charge is the strong point of "Only the Blind Can See..." in which a careful mix of strings and chord instruments drag the listener "Down the halls, where no light glows..." to quote the song itself.
"In Signo Mortis" however, is somewhat misplaced. If we exclude the brief interlude of "Temple of the Morning" the song in question follows three rather suffering pieces. The "pseudo-brasses" that serve as the backdrop to this song fail to liven up the situation too much, making it pale in comparison to the other three, rendering the "center" of the CD unappealing except to lovers of the genre.

A perceptible variation of style appears in the instrumental "The March Of Shadow". A wonderful medieval march that projects the listener into the ranks of an army of shadows. The presence of a string instrument that harmonizes the melody of a "weeping" violin is a novelty within the album. The whole is accompanied by a rising climax of percussion that overflows into an actual military march. Finally, the track that gives the album its name arrives: "In Nomine Aeternitatis". And from the first notes, it is clear that the choice is one of the best. A rhythmic track with the introduction of a piano into the musical palette of the 11 tracks. The dark voice reappears in an unusual "duet" with Elisabeth. A track that truly deserves to give the CD its name.

The album closes with "The Seas Of Oblivion". Another spot-on choice. A horn and the sound of the wind herald (as it will then be) the arrival of a track with an "epic" flavor that does not lose the dark sounds even for an instant. An excellent dreamy and "distant" conclusion for an album that has made suggestion its strong point.

An album recommended certainly to lovers of the genre, but which also lends itself to inattentive and ambient listening for those accustomed to different genres and who wish to be carried away into gothic atmospheres with the suggestive sounds and dark and "eternal" melodies of Dargaard.