Relative newcomer EISENKULT returns with Vulgäre, deutsche Hassmusik, the band’s lineup now including vocalist Tiwaz, also in longstanding (and more overtly medieval) ASENHEIM with drummer Valfor.

‘Annufung’ rings us to awareness, dark synth progressions and male chorale ushering in the German’s third. No pitiful, throwaway “intro” track this, a true harbinger of what’s to come, instantly drawing one into the world of the album. Surprisingly catchy, open and memorable from the start, ‘Der Teufel hat’s gesandt’ interlaces EISENKULT’s former 8-bit flirtations into a much bolder, more defiant blending to good effect, the tone of the guitar during the more blackened moments unexpectedly welcoming yet sacrificing no whit of ferocity when called upon to bare teeth.

Melody shoots through ‘Bizarr und erbämilich’, to the point that, familiar with German or not, one at least attempts to sing along with the refrain. Be aware, though, this is no biergarten-trendy, lederhosen-clad pretention or made for slinging arms around the shoulders of strangers and swaying along. Is it that our Teutonic brethren simply are more inherently bent towards tunefulness than their Scandinavian counterparts? There’s a debate to be had, sure, but Vulgäre, deutsche Hassmusik isn’t the album for it, not while you’re in the uninhibited, snarling ‘Da ist nichts’ and its howitzer cannonade beginning. That just over a minute in the shelling abruptly gives way to lavish synths, only to return to the artillery, not so much giving ground and shouldering forward, muscling into its place in the force of EISENKULT.

‘TeDeum’ shows the three-piece in fine, feral form, Tiwaz’ barks almost a rhythmic instrument on their own, and damned if this album as a whole doesn’t have one of the most fresh, alive guitar tones I’ve heard come out of black metal in a good while. SODOM’s slice ‘n’ dice riffing, KREATOR’s early, snide precision – all the while pretending they weren’t – come to mind, and the legacy continues here in the violent attack of ‘Niederes Gewürm’ brought by multi-arsenalist Baptist, who’s also responsible for the integral keyboard flourishes throughout.

After the nearly 8-minute ‘Gnadenwille’, solo synths bring us to ‘Sendung und Segen’, ending the trio’s third, and admirably setting EISENKULT up for where it wants to go next. Vulgäre, deutsche Hassmusik may be the title, but, at least in this case, you can revel in your hatred.
Review By: Lord Randall

Vulgäre, deutsche Hassmusik
Purity Through Fire