Metal maniacs, rejoice! I am proud to present to you: WHEN AT NIGHT; independently unsigned, hailing from the glory of Germany - performing Melodic Death Metal, on their debut album entitled: "Weltanschauung" (released September 24th, 2021). Since formation in 2018; the quintet in question have a Demo entitled "Demo 2019" (released July 8th, 2019) & this here debut album entitled "Weltanschauung" in their discography so far, of which I am introduced to. 9 tracks ranging at around 39:26; WHEN AT NIGHT arrange an intricately designed formula on some heavy-hitting Melodic Death Metal developments.

Opening up with a distorted array in gnarly contortion; drum bangs tremble speakers with uproarious snarls within the introductory beginner: "Altlast" surging with some synth work until the bombarding bulldozer "Philistine" rips & tears with slaying grinds, harmonic grooves and a boisterously bouncy element in killer laceration mobility while blistering cords soar with amplified adrenaline amongst a primitively raw potency on melodic virtuosity. Rumbling reverb rattles eardrums into a fierce hybrid of punchy tightness, weighty thuds and chiselling stridency. Trailblazing with skyrocketing mellow while savagely sinister yet volatile viscerality manifests with menacing vibrancy, while riveting synergy revels with tormenting and extreme aggression.

Consisting of Patrick Mayer on vocals; the front man excels at a grunty, blood-curdling guttural as throaty raspiness yells with shouty perseverance while monstrously meaty harls grovel with persistent pipes of growly harrowing. "Philistine" unleashes technical pandemonium; where ruthless stability unravels piledriving remedies on stompy yet rambunctious kicks from hammering drummer Lukas Westhauser (I'd change my name to Westhammer if I had my way), the stompy smacker rambunctiously belts at a dynamically hefty distilment in galloping firepower expertise which showcases quintessential crunchiness and sonically seamless yet experimental dexterity - profound with the twinning riffers Benjamin Gölz & Simon Abele, both dexterously steamroll with wildly rushing sharpness on razor-splitting riffs while pummelling with an infectiously venomous thump on audible bass injections from Maxim Krawtschuk especially in songs like "Quietus" & "Past Silent Lament".

Everyone performs with meticulous grit; concretely engaging on thrashy deadliness and momentous magnitudes of relentless clobbering aesthetics, executing an immersive foundation in borderline chugs that frolic intensely with strong musicality. Evident in "Yonder", where the progressive maelstrom proficiencies attributes at an immense boundary on uniquely versatile vehemence & rampantly rompy substance on organic yet rapidly swift nimbleness which utilises this rhythmic stronghold on an archaic archetype in distinctively distinguished instrumentation amongst a frenetic inventiveness, crafting complexly harmonious songwriting musicianship which pursuits with striking malice, mellow and epic but deathly euphony.

"The Wretched Nothing" bludgeons eardrums with nothing but hymnal solidity while tuneful throttlings scour with bruising heat; guitars screech with shrieking solos & speedy blows, followed by thunderous stampiness which prodigiously wreaths with prestigiously seething fabrications in which oscillate with massive crescendos and beefy choppiness while the symbolic flair in "Sands Fall" unearths this overarching presence on mellifluous sublimity, amidst a harbouring conundrum on mythical blasphemy and elegantly hypnotising instrumentation that spellbinds me into an angelically exquisite sensation of blackened dissimilation. The penultimate track "High Priests Of Avarice" provides sulfurous divinity as hints of acoustic electricity implodes with more zestful spectrums in impactful yet spectral subjugation, revolving around a gravitational assimilation on rampaging malice & stampeding tempos on this monolithic ritual of hazy but godlike symphony of apocalyptic but abominably exquisite deathliness that shrouds over you like a horde of charging demons that will quake the ground, bashfully.

Overall concluding "Weltanschauung" with the atmospheric acoustic of the eerie but ambient titular track; I am compelled to say that WHEN AT NIGHT most certainly delivered a fine spectacle of profusely robust songwriting musicianship here, as they represented something that's rightfully off the charts in my opinion. There's a lot of salubrious zeal that begs one to admire this slab of ambitiously adventurous but groundbreaking, instrumental agility here and definitely deserves to be listened to & spinned/replayed a good handful of times. An enjoyably entertaining discovery that's worthy of experiencing, do check it out.