Where on earth do you start with this German bands second album whose title translates as ‘Scum’, they are so off the wall that just describing their music as black metal does it a serious disservice. However the four piece within the ranks is essentially a black metal band but their corruption of the genre is wholly beguiling.
‘Endzeit’ kicks off this release with an elongated styled intro that sees the initial ambient strains and spoken voice being unceremoniously destroyed by deep, dense foreboding music that is cloying, before it turns on its head again for acoustic guitar and weird spoken words, and this is only the sub three minute opener. Launching in with ‘Seelenschrei’ the riff has a cool quirkiness to it, something that this album has copious amounts of, as the blasted phase that follows doesn’t have a sheer intensity but instead allows the song to become manic, crammed with riffs and hooks that are tossed out like sonic confetti.
‘Sonnenuntergang’ has a sorrowful guitar piece and spoken vocals at its beginning that continues when the throaty snarl appears and more typical black metal manifests that is wonderfully melodic. However it doesn’t last as the song thrusts in the blasted segment with considerable force but it’s the way the band completely capsizes the song by allowing that quirkiness to be given full focus that I particularly enjoyed the most. Continuing that catchy vibe is ‘Flammen Der Schuld’ which possesses a denser approach and more scathing vocal style. The flamboyance of this album lies within its riffing, and here the listener is engulfed in a plethora of them producing a schizoid track that flows cohesively as manic laughing adds an eeriness to the proceedings.
Capitalising on their ability to infest every song with a musical cornucopia ‘Gletscherbestie’ initiates with a fine isolated guitar riff before being bolstered by the drum work’s fluxing density. Again the song throws a myriad of riffs and hooks at you, that it’s difficult to remember them all even after numerous listens. Also the tempo dynamics enable the song to have huge impetus as the speed swings from obvious blasting to a shadowy sorrowfulness that boosts the atmosphere enormously. Contrasting with that shadowiness ‘Thron Des Zorns’ is far more upbeat, almost rock tinged in its mood and pacing as the song displaces the corrosive blackness for something a tad warmer in mood though the sporadic blast sequences make sure you know this is a blackened tune at its heart.
After a short interlude, ‘Gabe’, the album concludes with the massive epic ‘Hingabe’ which links in seamlessly with the preceding interlude with an eruption that seems that bit more impacting. Maintaining a much slower steadier beat the song is very easy on the ear as the snarling vocals and riffing produce a bouncy feel. The additional effects drain the song of its upbeat character creating a desolate aura with drifting ethereality. The track isn’t overloaded with riffs like previous numbers but the song teems with melancholic dynamism as the song returns to its more upbeat beginnings. The abrupt riff break and speed injection towards it finale enhance the power hugely as the track inserts a very cool hook that permeates initially before the blast. There is a slight post black ethos here due to the melody of the riffing right before the song wields a pulsing catchy riff that is sultry like and that takes the song to its completion.
Even with repeated listens Germany’s Herbstschatten will always give you something new you’ve not heard before on this album; teeming with ideas and awash in dextrous musicianship and solidified by their exceptional song writing this album is a captivating listen.
(9/10 Martin Harris)
Leave a Reply