In the relatively short duration of less than a decade this German act has put out over 20 releases that have spanned various genres from black metal wrath to ambient work all courtesy of the creative genius of Tom Schmidt. This latest effort, putting it bluntly, is staggering from start to finish, every track grabs grips you and virtually throttles the life out of you with its seething, raging and besieging causticity that erupts with politicised opener ‘Kill Your Inner Cop’. The massive guitar sound enables this album to completely engulf the listener in its abrasive nature as the songs blackened feathering allows the aggressiveness to be that much more ferocious alongside the utterly barbaric vocals and metallic hardcore riffing. ‘Inferno’ continues the mauling as the song blasts in utilising high impact blast beats and piercing guitar work before shifting the track into a post hardcore guise. The abyssal plunge into double bass is awesome adding massive impact as the momentum rarely lets up when ‘Final Hour’ crashes in. Again we get blackened touches as the vocals become even more hostile, venomously spat out before the song drifts into post-rock sensibilities adding reams of atmosphere, something this album is drenched in.

The two parts of ‘The Burden Of Hope’ are excellent with the acoustic first part producing an ambient melancholic aura that sequentially intensifies ready for the detonating second part with devastating results. Again there are post hardcore traits here despite the unerring speed as the guitar work has a worming melody that threads through eating into your psyche. Contrasting hugely is ‘Razed Eden’ with its more atmospheric opening as a female vocal line is added that is beautifully layered, serenely epic as it builds towards to the blackened malfeasance that ensues; truly exceptional on all levels.

‘Abysm Of Existence’ is immense on an album of immense tracks, the metallic hardcore riffing leads into a double kick avalanche that is completely obliterating right before a monumental riff break, the intensity makes you break into sweat as the song abruptly swerves into a tuneful guitar hook and blast beat. The last three tracks on the album are longer and far more involved, but not necessarily more complex, as ‘Denazification’ initialises with a fine melodic opening the song veers smoothly into the blackened hardcore violence you expect. However as the song evolves it plummets into a slower atmospheric piece momentarily, with sporadic reassertions in power, as those atmospheric phases reappear like fluctuating moods.

The closing doublet of ‘Monotony Of Anguish’ and ‘Monolith’ is monstrously effective as the former has another calmer start with a mournful ethos that sees the track steadily intensify with each passing second up to the riff change and constantly change tempos. The song is hugely dramatic with the catchy riffing building sequentially and epically towards the songs blasted finale. ‘Monolith’ has a bereft guitar opening, a swirling, haunting melody that atmospherically encircles the listener before the vocals break through harshly. The tuneful hook that is added enhances the bleakness as a very cool bass riff is isolated as female vocals are added nurturing the post rock credentials stunningly. The vast explosion in speed is utterly breath taking here with stupendous impact as the song completely changes its mood with outright violence before it again changes mood for its finale with more post hardcore melodic riffing bringing this astounding album to its fabulous conclusion.

(9.5/10 Martin Harris)

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