Well, this is going to be very subjective. The place where one draws the line between a nice lens that is free of vices, rendering a good sharp image and it being "clinical" or cold is a very personal choice.
For black and white film I am okay with most lenses. I shoot the Nokton 35/1.5 which I believe is contemporary to the lens you are considering - and I like it especially for snapshots in the dark in difficult light or situations since one benefit of modern glass is that you don't have to worry about your composition as much as you do with vintage glass. More on that later.
The first consideration or question is that in my experience lenses being "clinical" matters a whole lot less for black and white film photography than it does for say color - especially slide film. It also seems to matter less the bigger you go in format size - I don't think I have ever seen a medium or large format lens that I would describe as clinical. So, are you planning to shoot color too? In that case the Nokton may get a bit hard, yes.
If you wet print, that is another layer of "clinicality" removed and I found that - maybe due to be being put through another lens in the process (the enlarger one) - I never found it to be a big issue for wet prints. I do however dislike (some modern) lenses that have extremely crunchy contrast as it will mean I will have to go down from my default filter grade when wet printing which gives me less room to maneuver.
There is also of course the fact that the more you stop a modern lens down the harder/more contrasty the image tends to get. I have used aforementioned Nokton during the day (for black and white - TMax400) and I liked the results okay enough. Would it be my first choice for bright daylight? Probably not. But it works well as an "don't worry about it" all-round lens.
I think you can see where this is going - if you are worried about the lens being clinical - are you willing to live with the trade-offs of vintage lenses? Do you want to shoot a lot at night or in dim light? In daylight (f8) unless it's a bad copy or the rare dog most vintage lenses tend to perform very well on film. But if you are near or at full aperture all bets are off. Highlights can flare out, there's coma, smeared corners, spherical aberrations field curvature etc etc.
Also not all of these vices are equal, some of these aberrations are more distasteful to me than others. So finding a lens that suits your style can take some experimentation. As for myself I bounced around between various Leica lenses, SLRs before finally landing on the (vintage) Zeiss Sonnar as my go-to, because at least to me - nothing comes even close in color rendering and the black and white is very nice as well.
