Dråpsnatt - Skelepht (2012 Reissue) (2020) Hi-Res

DRÅPSNATT, an atmospheric black metal band from Sweden, re-issued their 2012 album entitled, “Skelepht.” The album is a combination of many ideas, but it does not stray too far away from the majestic style that it set up in the beginning. The instrumentation in part with the vocals, creates a harmonious fragility with a harsh settled climate. Although at times the piece did not live up to the standards it created, it makes up for this at the end of the piece.

“Meningslösheten” begins the solace with a spacious ambience. A synth melody creates atmospheric reverberations. Although the mood is melancholic, the sounds remain majestic. A flute dances its toes through the sounds, and a piano makes its way through the distressed screams. It is a path where harmony lies. Guitars move about, tracing the figure in chalk. There is a certain calmness in the devouring anger. “Klardrömmar” exhibits a low bass, and it is more tangible than the previous makeup. A breakdown of echoed synths and loosely held guitars follow the airy voice. A string-like synth instrumentation chimes in. A dust is scraped off the harsh surface, and a static thumps in the background. “Skelepht” begins with an eerie, piano melody that can be heard in the town of remembrance and old photographs. Anguish is felt with soft spoken words. Synths move through the piece, and breakdowns feature a low tuned bass.

The church bells chime and the rhythm disappears, but the feeling never vacates. A joyful talk haunts the words, and the piano fades out. “Tonerna Till Vårt Slut” is differentiated than the previous. It begins powerful and strong, and sounds drown underwater. Drums double kick, and the guitars ride along with the melody. There is a crackling off in the distance, and synths flow over top. Jazz-like guitars chime in towards the ending, with high pitched synths bubble to the surface. “Échec” features soft, simple, pianos. Rach note is extended with ethereal sounds. It is lugubrious in the smoothest of terms. “Förruttnelsens Hypostaser” starts with delicate guitars before growing faster. The tune moves about, but does not necessarily have a distinct rhythm. Tremolo picking dominates a section of the piece. It is quite similar to others off the album in its mellowness and quaint breakdowns. Powerful and high pitched synths flow like the wind over the piece, gradually picking up speed.

“Valan” is quite bouncy in its rhythms, mimicking similar black metal artists. Its awkward, high-pitched notes with a drum, that seems to be off beat, makes it not one of their strongest creations. Nevertheless, its synth melody creates something a bit more palpable. “Intigheten” remains to be one of their best pieces off the album, and an interesting finale. The music feels old fashioned — stuck somewhere between times. It chugs along with gracious guitars. Talkative vocals come forward, hiding behind the music smothering it. Clean and gentle vocals reign through the piece, with harsher vocals as well. At some points, the synths sound off-key to the rest of the piece. A violin-like synth comes forward in the works, making it gracefully marvelous. The album ends with a chorus of voices.

DRÅPSNATT’s “Skelepht” is an atmospheric creation that is still tangible and rooted in the familiar sounds of black metal. Using a variety of synths, the album forces the guitars, drums and vocals to overlay the melodious structure. Synths are quite repetitive and would seem overused, but “Skelepht” portrays the ideas in a way that sound originally fastened and whimsically diverse. This re-issue deserves a listen.