Sixteenth chapter for Eisregen.
Approaching thirty years of existence, the band formed by Blutkehle (vocals, Goat Funeral, ex-Marienbad, ex-Panzerkreutz) and Yantit (guitar/drums, Ewigheim, Goat Funeral, ex-Marienbad, ex-Panzerkreutz) renews its trust in Massacre Records to unveil Abart.
Bass was recorded by Markus Stock (Empyrium, The Vision Bleak…) and violin by Frau N. Feind.
The album opens with Am Abgrund, a melancholic angst-ridden composition that becomes more upbeat as the saturation returns, while retaining its dark tones. The sound also adopts an interesting vocal duet, before giving way to Ich und mein Bolzenschussgerät to develop a distinctly sharper aggression. The composition slows down but remains very menacing, but Im blutroten Raum quickly takes over, creating some kind of macabre dance where murmurs and vocals mingle before the ballet of choruses. Lebendköder starts quite calmly, but the Black Metal influences quickly take over, sullying the riffs’ quietude to finally give them that ominous tinge before returning to more cheerful tones on Dem Menschsein so fern, a track beginning and led by the violin, which makes it stand out a little from the others thanks to this more ethereal addition. The sound turns sinister again on the slow Schöner sterben, a ponderous march during which the steamy rhythm shelters growls and a few keyboards, then the madness takes hold of the musicians again for Hinterland, where the rhythm once more settles into a kind of jovial fury. The duo keep their energetic approach with Rasierfleisch, but the soaring refrains contrast with the liveliness and give it more majestic hues, while the very short Abart focuses on speed with its frantic blast despite keyboards. We return to this impressive darkness on Schmutzliebe, adopting Folk accents thanks to the violin, but the composition passes relatively quickly, and gives way to Totkörperkunst, where the musicians first develop a solid rhythm section before welcoming pianist Gemser, who lends a distinctly more morose touch to the most suffocating passages of this long requiem.
A second CD awaits to complete the experience, opening with the upbeat Die Rückkehr der Elektro Hexe, evoking technology over a stirring rhythmic beat before moving into true Industrial roots for Elektro Baba Yaga. The title obviously hinted at this musical direction, but it fits perfectly with the German growls, but the two compositions are strangely similar, unlike 1000 tote Nutten 2024, a reinterpretation of the track 1000 tote Nutten released on the Hexenhaus EP almost twenty years ago, and which recovers its powerful Black Metal roots.
Eisregen revels in its multi-influenced darkness, allowing the duo to exploit its recipe again and again without sounding redundant. Abart will be appreciated by the band’s fans, and its macabre anthems will resonate for a long time to come.
85/100