Nachtmystium
Addicts: Black Meddle Pt. 2

Second part of the Black meddle project, and a second hit for the Americans Nachtmystium, now a reference point for the new star-spangled black scene, as well as a cornerstone of an exciting series of side-projects and collaborations among musical entities and individual artists, above all the super-group Twilight.

As for the album in question, the starting point is obviously that "Assassins" which two years ago deservedly caused a stir, within the black metal circles, sly in their comforting self-referential conformism.

Fortunately for us, Blake Judd and his associates have very different plans, which involve rewriting the black vocabulary, thanks to heavy infusions from other musical genres, inspired by a coherent underlying vision, which has much in common, conceptually, with the Pink Floyd, from whom they have indeed borrowed the title of the Meddle project.

In this second part, the psychedelic riffing and fusion of genres (post-rock, post-punk, industrial) is even stronger, as in the opening of Nightfall, which could easily come from an inspired Franz Ferdinand album, or in No Funeral, with sounds intoxicated by thick layers of synth.
Much more heterogeneous than the previous album, "Addicts" does not hide its ambition to represent a new benchmark in the black field, widening the gap that separates them from other, albeit valid, groups less inclined to free experimentation.

The songs flow like a drugged stream of consciousness, paced by the pulsing of the drums, played by Wrest (Leviathan, Twilight), and enriched by the heavy contribution of sound guru Sanford Parker (Minsk, Twilight, Buried at Sea, The High Confessions), apparently very interested in black metal in recent times.
Other notable guests include Bruce Lamont (Yakuza), returning after lending his sax to Oceanborne, Russ Strahan (Pentagram) and Matt Johnson (Pharoh), who help make this work even more varied and interesting.

We are still talking about black metal, it’s important to remember, but of the canonical, old-school, true Norwegian, or kvlt kind there's nothing here. Fortunately, one might add. Because what remains is the genuine interest of a group of artists towards musical research free from prejudices and expressive barriers.
Then it is clear that the final result may or may not be to one’s liking, but the personality with which this band presents itself to the eyes of a usually narrow-minded musical world is nevertheless commendable.

In my opinion, a great confirmation, with steps forward, for one of the most courageous bands of recent years.