Just in time for the 10th anniversary of their debut album “Traumtrophäen toter Trauertänzer” (“Mourning Dancers' Dream Trophies”, 2004), Berlin-based night crawlers Eden Weint Im Grab resume their “Geysterstunde” (“Witching Hour”) concept by releasing its much-anticipated Part Two. And much has happened since the release of “Geysterstunde I” in 2011! Vocalist, songwriter and bass player Alexander Paul Blake released his black metal solo debut “Die Rückkehr ins Goldene Zeitalter” (“Return To The Golden Age”) in 2012. A year later, he transformed this solo project into the band Aethernaeum, releasing their album “Wanderungen durch den Daemmerwald” (“Journeys Through The Woods Of Dawn”) in the same year. They celebrated their live debut at the Wave-Gotik-Treffen (one of Germany's largest dark culture festivals) and received outstanding reviews worldwide for it. But Eden Weint Im Grab was not idle either. They participated at festivals such as the Wave -Gotik-Treffen, M'era Luna, Castle Rock and the Austrian Rock-The-Lake-Festival. In 2012, they released the acoustic album “Nachtidyll” (“Night Idyll”) and played selected unplugged shows. For that purpose, they added violin and cello to the line-up. In the meantime, the band did not let the chance, to release their own branded mead “Blutquell” (“Well of Blood”), pass by.
So now the latest chapter is called “Geysterstunde II”. This is the bands first regular album that consequently incorporates violin and cello – played by Kalila Karussel and Meyster M. Melicus – into the bands' sound, thus resulting in broader musical diversity with added atmospheric qualities and various elements of chamber music. The compositions cover a wide spectrum: From furious metal tunes like “Nachtexpress nach nirgendwo” (“Overnight Express To Nowhere”), “Aurelia” or “Die Sage von der weißen Frau” (“The Legend of the White Lady”), to eerily danceable songs like “Tanz auf dem Ouija-Brett” (“Dance On The Ouija Board”), “Ein Wiegenlied in Fear-Moll” (“A Cradle Song in Angst-Minor”) and “Seelenernte” („Soul Harvest“) and heavy, groovy tracks like “Der ewige Bergmann” (“The Eternal Mineworker”), “Die Jenseitsflugmaschine” (“Otherworld Flying Machine”) or “Leuchtturm” (“Lighthouse”) – all of them are very catchy. Matching “Geysterstunde I”, this album features three audio drama-like lyric interludes, as well as the bizarre and bold surprise song “Wesen aus dem Nichts” (“Creatures From Nowhere”). In short: it is an album full of surprises and unexpected elements that still captures the characteristic sound of Eden Weint Im Grab – despite all innovations.
As in Part I, the lyrics are all about apparitions, hauntings and spiritualism. Once again Eden Weint Im Grab lends their voice to the ghosts in the lower astral planes, who cannot speak to the living anymore. In “Aurelia”, someone buried alive tells his love story, “Der ewige Bergmann” (“The Eternal Mineworker”) has been digging for light for many years, “Das geysterhafte Grammophon” (“The Ghostly Gramophone”) drives its pitiful owner out of his mind, and “Die Schattenwesen” (“The Shadow Creatures“) live off the fears of the living. “Somnambule” (“Somnambulist”), on the other hand, is heavily inspired by Edgar Allan Poe's poem “Ulalume”. Or do you prefer a trip with the “Jenseitsflugmaschine” (“Otherworld Flying Machine”), or the stroke of a scythe as in “Seelenernte” (“Soul Harvest”)? Alexander Paul Blake has embedded all these topics into lyrical verses, thus providing “Geysterstunde II” with the kind of poetic moments seldom found in today's music culture. This is exactly what heavy-metal dark romanticism is supposed to sound like!
Alexander Paul Blake – Gesang, Bass, Piano, Keyboard
Dr. Eckstein – Lead-Gitarre
Nimmermehr – Rhythmus-Gitarre
Zeus X. Machina – Schlagzeug
Meyster M. Melicus – Cello
Kalila Karussell – Violine
2004 - Traumtrophäen toter Trauertänzer
2008 - Trauermarsch nach Neotopia
2009 - Der Herbst des Einsamen
2011 - Geysterstunde I
2012 - Nachtidyll – Ein akustisches Zwischenspiel
2014 - Geysterstunde II
2017 - Na(c)htodreise