ALBUM REVIEW: Vulgäre, Deutsche Hassmusik – Eisenkult
EISENKULT, a German black metal trio comprised of members of MAVORIM, ASENHEIM and ATRONOS, have been incredibly prolific in a very short amount of time, due in no small part to the talent of those involved. Crafting a form of black metal that has one foot firmly planted within the second wave sound, and paired with impressive, folk-inflected keyboard flourishes, the band released their debut album, …Gedenken Wir Der Finsternis in 2020, and quickly followed it up only eleven months later with …Vom Himmel, Hoch Herab and a split with ATRONOS in 2022. Not ones to rest on their laurels, the band are back with their third album, Vulgäre, Deutsche Hassmusik, another solid slab of caustic black metal with some impressive and promising moments within it.
Anrufung starts things off in dramatic fashion, with huge, organ-like keyboards and choirs setting a fairly light tone that is at odds with what follows, being a fairly grand track that lulls the listener into a false sense of security. Der Teufel Hat’s Gesandt, by contrast, is much darker, with dense, discordant guitars, energetic drums and acerbic vocals all combining to create a solid piece of black metal with powerful, folky keyboards and chanted vocals which help lend this relatively straight forward track some character that it would have lacked otherwise. Bizarr Und Erbärmlich couples the angular guitars of the previous track with intricate drums and impressive vocals, still fitting firmly in the classic black metal mould, but possessing a sharper, melody-driven sound that is leaner and more focused.
Da Ist Nichts is feral and chaotic, interspersed with minimalist dungeon synth, a contrast that works well. It’s more visceral and inspired than its predecessors, feeling far more belligerent and imaginative, and in turn far more memorable. Tränensäufer similarly utilises the vocals far more effectively to build an aggressive atmosphere, with thick guitars and percussive drums further adding to this track’s appeal. The dancing keys provide a lot of great moments, complementing the starkness of the music with soaring, ethereal flourishes. Wer Schlug Deinen Abel Tot is another spirited piece of music that leans into the band’s cacophonous side, with even the mid-paced moments having a solid black ‘n’ roll quality that injects a groove and swagger that makes it even easier to get drawn in by, resulting in a catchy and ferocious slab of black metal. Te Deum applies the bellicose formula of the preceding track and refines it further, and this short, sharp shock of a track is much better for it, with blistering guitars, snarling vocals and frenetic drumming all contributing to an intense and powerful sound.
Niederes Gewürm sees the palpable energy and video game soundtrack keyboards return, blending aggression and trite melodic hooks together, with even the guitars capturing the slick, infectious sound of the keyboards to make this brief track one of the album’s best. The monolithic Gnadenwille V, with its magnificent, haunting ambient opener, quickly gives way to an atmosphere-drenched sound built around cavernous guitars and drums, interwoven with airy keyboards and rabid vocals, balancing the black metal and keyboards far better than on earlier tracks and lending this a robust and engrossing sound. Most importantly, the folk edge of the keyboards is effectively translated to the guitar to some degree, transforming this into a bombastic and adventurous affair. Sendung Und Segen, a short, spartan piece of dungeon synth, is a great way to bring the album to an end, counterpointing the epic offering that came before it with a stark sound that winds the record down perfectly.
Like a lot of black metal with a pronounced second wave influence, this is definitely not trying to reinvent the wheel in any respect, but it manages to incorporate some impressive elements into the mix that makes it far more memorable than it would normally be. At points, the keyboards really help make the music come alive, saving some of the less bellicose tracks from feeling a little uninspired, and it would have been great to see some of the gothic, baroque qualities of the keyboards get transferred to the guitar hooks, as this could have turned this from a solid album into a great one. Nonetheless, it’s got a great, video game soundtrack component to it that makes this music much more fun and nostalgic than is often the case with albums of this kind, even if some of the more reserved moments don’t feel as impactful as they could have been.
Rating: 7/10
Vulgäre, Deutsche Hassmusik is set for release on April 22nd via Purity Through Fire.
Like EISENKULT on Facebook.