NIGHTBRINGER was created as a conduit for our contemplations on the mysteries of death as it is understood in the tradition of the art magical.
Formed in the year 1999 by Nox Corvus (guitars, percussions, bass and vocals) and Naas Alcameth (guitar, bass, lyrics and vocals), the band from Colorado in the United States recorded a two song rehearsal demo, which would be later self-released in 2001 on the CD-R compilation "Horde of Darkenwood" and featured again on the NIGHTBRINGER release "Emanation" put out by Starlight Templer Society in 2010.
Ophis (guitars and lyrics) joined the circle in 2001, and two years later the trio entered Hellion Studios and recorded two tracks, "The Void" and "Mors Philosophotum", which were to be released via Vae Victis Productions. But the label folded, and NIGHTBRINGER signed to Full Moon Productions soon after.
In 2004, NIGHTBRINGER made their first live appearance at the Gathering of Shadows in the woods of the Colorado Mountains. Since that day they appeared annually at this event until 2011.
In 2005 the split EP with TEMPLE OF NOT, entitled "Rex ex Ordine Throni", was released via Full Moon Productions. The following year, a split 10'' record with brother band SERPENTINAM was released via Forever Plagued Records.
After three years of writing and recording, NIGHTBRINGER's debut, entitled "Death and the Black Work" (recorded at Hellion Studios, now re-named "Flatline Audio"), was released in 2008 via Full Moon Productions in CD format and Forever Plagued Records in 3x LP box set format.
The same year, the Americans were joined by members Valfor (percussions) and Horridus (bass) formerly of the cult Black Metal act DEMONCY. With the live line-up completed, NIGHTBRINGER played a handful of live fests on both the US coasts and opened for WATAIN in Denver in 2009. Shortly after, members Horidus and Valfor split ways with the band and session members were used for future live gigs.
NIGHTBRINGER signed to The Ajna Offensive in 2009 and the following year was featured on the four-way vinyl split "On the Powers of the Sphinx" alongside SATURNALIA TEMPLE, NIHIL NOCTURNE and ALUK TODOLO. The same year, their second debut "Apocalypse Sun", recorded once again at Flatline Audio, was released via The Ajna Offensive in North and South America and by Avantgarde Music in Europe.
At the close of 2010, Starlight Temple Society released a compilation of NIGHTBRINGER's unreleased and rare tracks entitled "Emanation". In the summer of 2010, NIGHTBRINGER did a West coast mini-tour for one week with Australian Black Metal act NAZXUL followed by an appearance alongside KRIEG and PROFANATICA at The Return of Darkness and Evil fest.
2011 saw the return of Valfor to the lineup. The same year, the Americans signed with Season of Mist and, in March, entered Flatline Audio once more to record their third full length entitled "Hierophany of the Open Grave". Conjuring up unholy sounds that draw from the blackest sources ranging from the majestic elegance of early EMPEROR to the fierce aggression of MARDUK, their third full-length gives rise to a mighty demon. Strings are screaming frosty hymns burning with bitter buzzing melodies, over which deviously arranged multilayered vocals are hissing incantations and spew forth throat-grinding blasphemies. This album also featured the lyrical additions and guest vocal work of Ar-Ra'd al-Iblis (Carl Nordblom) of the acts ACRIMONIOUS and MORBID INSULTER. Discover the new American darkness!
It would seem as though the years spent in demo world honing their craft are now paying dividends for Nightbringer. While many of their contemporaries have dipped their toes in other genres or, indeed, burned the bridge of their original framework, so Nightbringer have stepped back, re-focused, and delivered a work that ups the ante from 2010's ‘Apocalypse Sun’; as aggressively captivating as the quartet have ever been, but with further depth and complexity applied. If the term “symphonic” implies weakness, any such notions are utterly demolished here; the gravity and clarity of feeling that has been crafted shows that while moulded from the classics of second wave blackness, ‘Hierophany’ has been cast in something devastatingly demonic in its own right.
Head Ov Metal
Scream 5/6 - Norway - Aug 2011
Snikende melodier åpenbarer seg når du lytter til amerikanske Nightbringers mørke black metal, der det eneste bandet jeg tenker ligger i nærheten er formidable Negative Plane. Nightbringer er på en måte den noe lysere storebroren, der lyden er klarere uten at vi kan klarere lyden til å være på nivå med det Tool gjerne innehar. Når jeg nevner Tool er det sikkert ikke uten grunn, men jeg lar tilfeldighetens eksempel råde. Kanskje er det ubevissthetens bevissthet som tenker at Nightbringers musikk er flytende, til tider overraskende og stemningsfull, samtidig som lyden av lyd er klar nok til at lyden av instrumenter innehar hver sin skrikende plass. Den mektige "The Gnosis Of Inhumation" drives frem av et tempo som gjerne kalles midtempo. Men musikken stopper nesten opp til tider, uten at flyten forringes. Doom metal i tempo, black metal i lyd og bilde? Ja, såvisst er det så. Men noen prosenter av dette verket "Hierophany Of The Open Grave" går unna i tradisjonelt raskt black metal tempo, og det er da Nightbringer svekkes fra topp til andreplass. Men andreplass er ikke verst når man vet at toppen består av det aller beste, i mine ører Deathspell Omega. Tilbake til Nightbringer, der tempoet som sagt er halvraskt. Musikken går, den tåler gjentatte lyttinger og hver gang du ankommer den åttende stasjonen kalt "Via Tortuosa", der et akustisk innslag åpner verket, er ekstasen nærmest tilintetgjørende. Du flyter, du blir ett med musikken og det går ned, ned, ned. Noen vil kanskje finne musikken noe monoton... Ja, let og du skal finne. For meg handler dette selvsagt om musikk, men enda mer om stemning. Kanskje burde bandet avsluttet med den monumental "Via Tortuosa", siden "Old Night" som avslutningsspor er for rask. Samtidig har den nok sin funksjon, der jeg blir dratt ut av den hypnosen "Hierophany Of The Open Grave" er. Dog, når jeg tenker etter er de store trommene, Timpani, noen av oss kjenner fra Master's Hammers "The Jilemnice Occultist" medvirkende til at også de raske partiene i "Old Night" har sin styrke. "Hierophany Of The Open Grave" er et verk, nært et mesterverk og det er vakkert på en måte black metal kan være vakkert. Og dystert!
Roy Kristensen
Metal Hammer 9/10 - Norway - Sep 2011
Det hedenske mønsteret er komplett! Black metallerne fra Colorado leverer en dissonant vegg av lyd som ville satt håret til Phil Spector i flammer. De har byttet inn klikktrommene som hjemsøkte andreskiva deres, Apocalypse Sun (2010) med en talentfull slagmann; VJS (Goreaphobia). Denne tredje LP’en er ortodoks, men har fått en klar finish. Tre gitarister som spiller ustemt, surrende tremoloplukking med nok variasjon til at det aldri blir kjedelig. Lag med raspende vokalspor ender i et vulgært skrik, der Ar-Ra’d al-Iblis (Acrimonious, Morbid Insulter) medvirker. Tekstene står på trykk, og er en nøkkelkomponent i deres artistrituale. Igjen er det Benjamin Vierling som har stått for coverdesignen. Brenn lysene, men ikke fall i søvn.
Nightbringer a été formé par Nox Corvus en 1999. Ce groupe de black metal puise sa force entre du Emperor (première periode) et du Marduk. "Hierophany Of The Open Grave" est sorti sous l'étiquette Season Of Mist (gros gage de qualité en black metal donc) le 19 Août. Et c’est donc leur troisième album. Et on commence tout de suite avec "Rite Of The Slaying Tongue" qui nous entraîne vers une dépression dès les premières secondes du morceau. On ne se sent pas à l’aise, quelque chose de malsain se dégage mais le tout en finesse. Mais quand le groupe commence réellement, on a une autre vision du morceau, qui me touche va-t-on dire car avec "Eater Of The Black Lead" et "Psychagogoi" on est plongé dans un black metal assez underground tout en ayant un mixage excellent. On arrive à ressentir tous les instruments et ainsi la technicité des morceaux est plus appréciable. Je dois avouer que le groupe monte en intensité avec "Lucifer Trismegistus", "The Gnosis Of Inhumation" et "The Angel Of Smokeless Fire" qui dégagent quelque chose de fort. La voix de Nox Corvus est exceptionnelle et merveilleusement et ingénieusement mise à niveau par rapport aux instruments, ce qui donne une homogénéité aux morceaux. L’ensemble est malsain à souhait, les ponts instrumentaux ne sont pas décousus par rapport au reste. Les morceaux durent 7 minutes mais on ne s’en rend pas vraiment compte car on doit prendre en considération justement ces ponts qui donnent une impression que les morceaux ne tournent pas en rond. Le mixage, comme je l’ai dit au dessus, est assez homogène, on arrive à ressentir tous les instruments et ainsi observer la qualité des musiciens. Le son de la batterie est assez massif et lourd, ajoutez à cela une basse omniprésente, et un son de guitare très black metal traditionnel. Le groupe a toutes les cartes en main pour filer vers un bel avenir. La fin du disque sera du même niveau avec "Dreaming Above The Sepulcher", "Via Tortuosa" ainsi que "Old Night" qui me surprendront encore avec des changements de tempo et une diversité au niveau de leur jeu tout en restant dans leur propre style, c’est assez déconcertant à dire, le groupe ne fait pas du black metal progressif loin de là, mais ces passages sont très appréciables et permettent de nous garder en haleine. Pour être bref, cet album est sûrement un de mes coups de cœur de l’année, 1 heure pour 9 compositions c’est dur à cerner dès le début, mais après plusieurs écoutes on ne peut être que conquis.
Motörbunny
Legacy 14/15 - Germany - Sep 2011
Nach dem zweiten Album “Apocalypse Sun“ lassen NIGHTBRINGER das Drittwerk “Hierophany Of The Open Grave” recht flott folgen, wenn man die bisherige Diskografie der Amis verfolgt. Mittlerweile konnte auch ein Drummer gefunden werden, so dass das facettenreiche Schlagzeugspiel keinem – wenn auch sehr gut programmierten – Drumcomputer mehr überlassen werden muss. Nach einer kurzen Intro-Sequenz geht ´Rite Of The Slaying Tongue´ gleich in die Vollen. Wer NIGHTBRINGER kennt, weiß jedoch, dass sie ebenso Meister der schleppenden und Midtempo-Rhythmen sind, wie sie der Raserei frönen können. So wechselt der Opener schnell im Tempo, überhaupt bewegt sich „Hierophany Of The Open Grave“ größtenteils in ausgebremsten, überraschend schweren Tempi. Weitere, mittlerweile als positive Trademarks zu verzeichnende Ingredienzien sind das oftmals düstere, fast beschwörende Gekrächze von Naas Alcameth, das sich in den passenden Momenten ins Grolwen oder in höhere Bereiche begibt, sowie die großartige Gitarrenarbeit. ´Eater Of The Black Lead´ erhält als Einführung ein akustisches Saitenspiel, um im weiteren Verlauf einmal mehr mit Tremolos und ungewöhnlichen Melodieläufen zu punkten. Diese ziehen sich wie ein roter Faden durch „Hierophany Of The Open Grave“, sei es im langsame, doomig schwere Passagen mit Hochgeschwindigkeitsattacken vereinenden ´Psychagogoi´ oder dem mit finsteren Chören versehenen ´Lucifer Trismegistus´. ´The Gnosis Of Inhumation´ ist ein fieses, zähes Biest, das am Ende von einer Piano-Melodie ergänzt wird, die gleich darauf am Anfang von ´The Angel Of Smokeless Fire´ von einer Kirchenorgel abgelöst wird. In ´Dreaming Above The Sepulcher´ nehmen die sich überlagernden Gitarren mehr denn je avantgardistische Züge an, und das sich langsam aufbauende ´Via Tortuosa´ besticht mit einem weiteren Akustik-Intro. Im finalen ´Old Night´ verfallen NIGHTBRINGER dann nochmal dem schwarzmetallischen Geschwindigkeitsrausch, um das Werk mit Piano-Spiel und epischer Schwere ausklingen zu lassen. Die Längen, die sich gelegentlich auf „Apocalypse Sun“ finden, gehören der Vergangenheit an. Vielmehr heben NIGHTBRINGER ihren Black Metal auf „Hierophany Of The Open Grave“ auf eine neue Stufe, sowohl von den Kompositionen her als auch in puncto Intensität. Groß!
NIGHTBRINGER have been around for almost eleven years, but their debut album just barely saw the light of day in 2008. However, their occult, twisted black metal was a well kept secret as it brewed and brewed until exploding as a cataclysmic chasm of music that basically swept away all the naysayers and critics who felt that they would be just “another black metal band”. Despite being an underground group, NIGHTBRINGER brings forth an eclectic and depraved collection of black metal ideals that are as foul as the work by WATAIN but also as interesting as something by DEATHSPELL OMEGA. One moment it is beautiful and the next a destructive hailstorm of guitars, all dripping in venom and disgust. However, lyrically, the band is more than praising Satan or asking death to Christianity. Like DEATHSPELL OMEGA, they tend to lean towards a story with each track that just runs along in its own way, making reading the lyrics just as enjoyable as listening to the music. No choruses, no verses- just revelations spit in black metal. ‘Hierophany Of The Open Grave’ is NIGHTBRINGER’S third effort, and by this point they’ve pretty much earned a reputation to uphold. This time they’ve recruited some help from vocalist Ar-Ra'd al-Iblis of ACRIMONIOUS fame, and his vocal and lyrical support really makes the album even more demonic than the sophomore effort. Like their previous works, ‘Open Grave’ is a violent tumult of music straight from the opening track ‘Rite Of The Slaying Tongue’. The guitars aren’t as fuzzed out and lo-fi as a lot of occult black metal, but the tuning seems off and unpredictable even as the band tries to keep rhythm, which is part of their progressive ability to keep listeners off balanced and somewhere in between being unsure if they like it or hate it; either way they keep listening. Then there are tracks like ‘Eater Of The Black Lead’ and ‘Via Torturosa’ which sounds almost OPETH-esque and with the acoustic lead in and then suddenly it morphs into a tremolo picking fury that sounds as visceral as HORNA but also strangely catchy as one can pick up rhythms behind the wall of sound. ‘Psychagogoi’ aims for more of an atmospheric track by using the distortion to echo the vocals and even though the music sounds like it is hurtling, the riffs are actually very slow and methodical, making this a possible attraction to fans of depressive black metal. ‘The Angel Of Smokeless Fire’ involves funeral church hymns that bring out the atmosphere. ‘The Gnosis Of Inhumation’ has a balance between furious tremolo picking and sudden slow, percussive moments with just the vocals, which sound their darkest here when not covered by the music; fans of FUNERAL MIST may enjoy this. Finally ‘Old Night’ is a monolith of horror and black metal, featuring creepy piano amongst the raging, chaotic guitars and making the echoing vocals sound even more depraved in their madness. Starting off fresh and ending fresh, NIGHTBRINGER have once again created a philosophical nightmare that crushes everything in its path. Far from typical, the band did well to sign to Season Of Mist where their unorthodox talents would be much appreciated. The band still performs gritty black metal, but with a more modern touch of variation within the tracks so it doesn’t sound repetitive by track five and listeners think they can know the whole album just by listening to half of it. ‘Open Grave’ is a roller coaster that stays in the same vein as previous works without pulling a sudden one eighty for experiment’s sake to be progressive, so there should be no love lost from older fans. And of course new fans will sink right into this for those who like esoteric black metal that is still clear as day and ferocious as night.
