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Eisregen – Leblos

by Aurora Kuczek at 22 June 2020, 5:15 AM

Hailing from Germany comes forth EISREGEN, a gothic black metal band. The project formed in 1995, and has put out albums almost annually since then. This year is their 25th anniversary. Their latest release entitled “Leblos,” is a creation rooted in harsh vocal structures and synths. The album is interesting in that it creates a style that blends multiple metal genres over the course of their tracks. Although unique, it is disorienting, and the structure does not flow over smoothly. The album is fit to play a sort of role, rather than exhibit an experience. Nevertheless, the tracks maintain a creepiness that linger throughout the album.

Ruhet Sanft” starts with a piano melody, with harsh German vocals whispering along to the sounds of synths. A melancholy drenches the notes, as breaks appear throughout the track. The high-pitched piano carries through the piece as the track gets heavier through its guitars and bass drums. It is unsettling, but this lasts for only a short while as the track, as well as others, tends to lose sight of the main idea. “Pechschwarz” is a slight continuation of the previous track, except that it is a bit melodious. High sounding synths repeat with low sounding guitars. The vocals are coarse, enunciating every syllable in its words. Guitars are fast paced, and there is a slight change in their melody. Almost like a wind chime, it revolves around a gothic creepiness that lies within their uneven melody. Drums are suddenly cheerful, before resorting sorrowful synth. Low vocals talk to the end.

The project here seems reminiscent to ETERNAL TEARS OF SORROW in their musical grimness and their darkened atmosphere. “Erstschlag” features spacious synth notes. Off key, it continues this until reverting to a vocal scream. This is where, suddenly, the album shifts from a gothic creation, to more black metal ideas, but does not quite breach this realm altogether. Synths flow with the guitars, going up and down the scale, and there is a pounding in the distance. “1000 Jahre Nacht” begins with a synth-like gloom with wind-like instrumentation and piano. Drums come forth before the harsh vocal patterns also arise. The song becomes more doom metal. Layers build on top of one another before dissipating, and the voice fades drastically. The piano and guitar now take control of the track, and provide a pleasant rhythm with additional melodies. However, there seemed to be something missing from the track—an instrument or an idea? I could not understand why it sounded off-putting. The piece stops abruptly, and the music repeats for the rest of the song with some moments being darker and harsher than others. “Leblos” introduces high pitched notes at the start, then abruptly shifts to an energetic, yet dimmer melody. Guitars and the bass make simple low notes with the addition of synths. The breakdown of the track features the voice all on its own. This track could be categorized into pirate metal, which is diverse from its previous creations. The voice sings, and the drums and guitars move at the same pace. The piece repeats itself before the insertion of the double kick and blast beat notes. “Schlachtraum” starts with a violin-like plucking that becomes an annoyance as it is repeated throughout the song with no changes or flow. Guitars fail to have a personality. There are elongated whispers, and the thumping-like sounds are continued.

A breakdown occurs, and there is feedback or static permeating in the background, before continuing the string plucking and the guitars. There is another breakdown, which slashes the notes, and a man sings in a creepy whisper. The melody changes once more before returning to the violin sounds. “Atme Asche” is very different from the other tracks off this album. It is almost black metal and has these types of synth ideas. A man talks in German and the double kick interferes with a synth overtop of this. Much repetition is involved through the majority of the piece, with only frequent changes in the synths and the man’s singing and talking voice. Violins appear once more. “Mein Leichenwerk” is a very similar format to the previous track. It begins with drums, going towards light flowing guitars.

High pitched notes are apparent, which move towards the piano. It is quite melancholic, but a memorable idea. Guitars are placed conveniently to better understand the synths. “Wangenrot” begins with synths, accompanied by thumping like sounds, and guitars. These guitars move like a drum. Whispery, coarse, vocals are heard throughout these noises, as the notes jump around. A double kick is heard, as the voice continues on like it is an instrument. “Mutter Schneidet” has darker sounds, with frequent synths and piano ideas, accompanied by a man speaking in German. Guitars are dingy and they lack resemblance to a melody. The track shifts between the duller atmosphere it began with and the whispering of the man. Synths are high pitched, and breakdowns continue with synths. There are strange, bubbly, static-like noises to be heard.

Drauß' Yom Häuten Komm' Ich” returns to a gothic ambiance. Strange noises, atmospheric in a sense, can be heard in combination with a single cymbal sound. Whispering hides in the crevices. The song builds up with small shifts, and the tunes change. It is almost ancestral, with a softer style than before. There is a breakdown similar to how the track began, with synths that are heavier, and drums that are darker. The voice resembles a child’s, but it is a man’s voice.

EISREGEN’s “Leblos” is a production of styles that are reformed and combined in a dull ambiance of their ideas. Elements are different throughout each track, which make the whole album seem a bit fragmented. There were quite a few times when this harmed the piece’s ideals more than it should have, and there were also moments when the tracks seemed a bit repetitive rather than unique. Nevertheless, “Leblos” is an interesting creation of diverse genre fashioning and thus, certain tracks will be savored by certain types of peoples.

Songwriting: 7
Musicianship: 7
Memorability: 6
Production: 8

3 Star Rating

1. Ruhet sanft
2. Pechschwarz
3. Erstschlag
4. 1000 Jahre Nacht
5. Leblos
6. Schlachtraum
7. Atme Asche
8. Mein Leichenwerk
9. Wangenrot
10. Mutter schneidet
11. Drauß' vom Häuten komm' ich her
12. Deutsches Bierlied
13. Grünes Herz
14. Wenn es draußen dunkel wird
15. Zeit zu Saufen
M.Roth – Vocals
Yantit – Guitars, Drums, Programming
M.Stock – Bass, Lead Guitars
Frau N.Feind – Violin
Record Label: Massacre Records


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Edited 11 June 2023

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