Even taking into account those involved in the non-conventionality of extreme music Martin Lang sticks out as being a real maverick and outsider with his art. Todesstoß have been delivering a musical ‘death-blow’ since around 2000 and under Lang’s tutelage have released a large body of work including nine studio albums. Here we have listened, somewhat in bafflement, to some of these and even interviewed the musician at one point but have only really scratched the surface of things. It has been seven years or so since we last heard from him and only a few singles and a compilation have apparently been released in the interim following Ebne Graun of 2017. When I noticed the promo of this new one I knew that it was certainly not going to be an easy walk in the park and although very loosely recognised as ‘black metal’ per-se should not be taken for granted as sticking to any specific rules in the slightest. Taking a look at the cover-art and translation where possible of track titles I have to admit to being really in the dark without any real clue as to themes and narrative within this work. Perhaps it is best to just let the music speak for itself.

Presented over six tracks at a combined running time of sixty-six minutes we start at ‘Antirobotid’ and harsh strangulating riff work with brash drumming. Vocals are predominantly provided here by the mysterious W apparently and are equally abrasive in their Teutonic tone whether it be by spoken word parts, misanthropic screeches or clean wails. Songs are generally long and arrangements repetitive getting right under the skin and burrowing in deeply. At times over the album you will notice the blackened elements but there are also meandering rhythms which are equally aligned to Krautrock, experimentation and even errant psychedelia. Add this to the fact that vocals are oft inhospitable and alien in language as far as I am concerned there is always going to be a feeling of confusion and disorientation here. Stark and loose riffing on ‘Tanz der Tausend Masken’ has this dance of a thousand masks obtusely refusing to show its face. Think of a mix of other outside artists such as Bethlehem, Silencer, Der Blutharsch and at times early Celtic Frost and you may have a slight insight into what to expect here as the guitars deliver slow stabbing motion and vocals become all the more unhinged.

Those willing to trawl through this labyrinth are likely to find themselves engrossed as acoustic folk parts seem to move into an underworld descent inhabited by mischievous trolls on the otherworldly ‘Ihre Gebilztheiten.’ The trembling trauma and German angst of ‘Greiser Witz schwelt im Geschlecht’ also makes its mark partly due to the addition of guest vocalist Lydia who gives things a little added derangement akin to the likes of Nina Hagen and Lene Lovich. Even making it thus far is not going to set you up for the 25-minute exercise in ‘Ghoulism’ that is ‘Ghulismus’ though. This one is a denser recording moving from strange chanted vocals and a pagan sounding atmosphere into a nightmarish soundscape of booming drums, strumming guitar and harsh vocals before moving to a passage of moody jazz. Put simply, you could easily imagine the likes of Hieronymus Bosch utilising this as a soundtrack to his possessed painting.

Obviously this one isn’t for everyone but I found it quite a compelling listening experience and although in many ways a somewhat alien one surprisingly easy to get into.

(7.5/10 Pete Woods)

https://i-voidhangerrecords.bandcamp.com/album/das-liebweh-dekret