EP REVIEW: Misanthropic Sedition – Unendlich

Baltimore, Maryland’s UNENDLICH are a band that have grown to be, over the course of two full length albums and an EP, one of the true hidden gems of the American black metal scene. Scratch that; they might actually be one of the most impressive black metal acts currently putting out music at the moment. It’s hard to believe that this band comprises of just two members, because their music sounds so utterly monstrous and sprawling that at times it’s hard to comprehend how two people can create such a massive sound.

Blending sharp and grating melodic black metal with some inspired musical progression that makes them stand out significantly from the vast swathe of other underground black metal acts, their sound is built upon a solid, black metal base, with some subtle, yet nonetheless amazing elements interwoven into their music, resulting in one of most eclectic, catchy and aggressive sounds your likely to hear from an extreme metal band. UNENDLICH‘s latest release, Misanthropic Sedition, comes off the back of 2016’s great Scales Of Existence, and proves to be, perhaps, the bands best material to date.

The record’s opening, titular track, Misanthropic Sedition, is an incredibly strong way to start proceedings, with razor sharp, grating guitar hooks, chaotic, thunderous drums and vocals that drip venom, it’s an incredibly acerbic and fierce way to begin this EP. With guitar tones ranging from sublime, clean sections through to jarring, crusty ones, it’s a track that manages to hit an excellent balance between tight, melodic black metal with a noticeable finesse and much dirtier, raw passages, which helps to keep this song interesting and sonically diverse in equal measure. Already Dead, with the slow, haunting piano section that opens it, quickly launches into a fierce and ferocious slab of great black metal with a palpable symphonic edge that helps to build a far more interesting and expansive sound. Incorporating some off kilter rhythms, clean, sing along vocals and thick, sludgy bass lines, it’s also a song that manages to blend a few subtle progressive flourishes within the song, something which adds to the depth intensity of the sound no end. There aren’t many bands that can do symphonic black metal well, and these guys do so with aplomb.

Catalyst Of Creation manages to dive headlong into an utterly monstrous, chaotic track after a brief, acoustic passage which ushers the song out of the speakers. Ranging from shrill, cacophonous extremity all the way through to monolithic, melodious hooks, it’s a really good track that bridges the gap between black metal’s harsher and more palatable sides, without it feeling forced or contrived in the slightest. The fourth track, and the last original composition on Misanthropic Sedition, is an amazing piece of music called Transparent Man, couples lots of bombastic, dancing keys that are evocative of mid-era OLD MAN’S CHILD with a progressive, technical take on black metal that sets a tight and jarring tone for the bulk of the song. Worlds apart from the other three tracks, this shows off a lot of astounding musicianship and power, which works incredibly well and helps inject plenty of life into this record. It would be great to see the band explore this kind of sound down the line, as it really is interesting and stands out from the pack as a result.

The final two tracks on this record are both covers, which show the range of this bands influences. The first, The Figurehead by THE CURE, does a great job of transforming this track from powerful, rhythmic gothic rock track into a razor sharp, caustic black metal song, complete with arid vocals, tight, melodic lead guitars and intense, primal drumming that manages to maintain the core of the originals percussive might, whilst throwing in plenty of intricate fills that help to create a far more driven and robust version than the original. It’s an impressively epic yet vicious piece of music, which does an excellent job of transforming this song into something starkly different. Where Dead Angels Lie, the DISSECTION classic, gets a slight, yet still noticeable make over by UNENDLICH, holding onto many of the melodic black metal flourishes of the version listeners have come to know and love, whilst adding the bands own visceral and acidic trademark sound onto it, including some subtle keyboard pieces that help to fill out the sound and add a distinct twist to the song. It’s an ambitious undertaking to try and lay your own musical stamp onto what is, arguably, one of the best melodic black metal tracks ever recorded, but the band do an impressive job, and manage to do the original justice. It’s a great way to close Misanthropic Sedition, on a track that is instantly recognisable and familiar, leaving the listener wanting to hear more.

Misanthropic Sedition is a brilliant EP, with each song sounding vastly different from the rest, making sure that every track is a stand out moment in its own right. The addition of two excellent covers works well in terms of adding more running time to this record, but in all honesty, this band didn’t have to resort to doing covers; the four songs that begin this record are strong enough on their own merits to be the sole focus of the record without having to utilise material by other bands. At points, this music is so fantastic that it feels criminal that UNENDLICH is an underground band, as they are certainly bringing something to the table that is far more unique and engrossing that some of the genres biggest acts are. In particular, Transparent Man, Misanthropic Sedition‘s single best track, is as epic as it ferocious. From the music to the stellar production, it’s definitely one of the more impressive black metal offerings that has surfaced this year.

Rating: 9/10

Misanthropic Sedition is out now via self-release. 

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