IGNIS FATUU draw their inspiration of the actual work from some masterly copper engravings by Albrecht Dürer – and the band manages to present a similar polymorphic expression.
Clumsy rhythms dominate the ear worm Rhinocerus, ere Satyr Und Nymphe accords to the title and shows up in dualistic manner concerning sound and lyrics, combining easy-going and thoughtful elements felicitously. In all, I appreciate that flutes, bagpipes and shawms are well dosed and powerful guitar chords care for needed steam. Of course, the folky approach comes into operation oftentimes, but reflective sequences take also part in course of Melencolia I appropriately. Adam Und Eva shows up in galloping manner, whereby the voices of Irene and P.G. go together harmoniously during the refrain. In course of the song Meerwunder, contemplative verses are accompanied by a contained refrain and an unobtrusive folk touch, spiced up by a discreet infusion of guitar power. Afterwards, another facet appears with the threatening and hard to access piece Sternenfall (Die Eröffnung Des Sechsten Siegels), ere Der Dudelsackspieler speeds up and offers tones of the title giving instrument, which are not enervating or slightly aslope at all. Finally, it is quite surprising that the septet rounds off this release with the last act Der Hl. Hieronymus Im Gehäus in very gentle style.          
Meisterstich includes many musical and lyrical facings to transport different moods like thoughtfulness, lust for life, dolor or good humor. For me, the discreet adoption of the folk equipment acts as downright brownie point, so that the combination with lively guitars results in a variable overall works.      
Albrecht Dürer rocks – not only in loud and rumbling, but also in calmative and emotional mode!