CVLT Nation’s Top 6
German releases of 2013

This year saw many good if not outstanding records from all over the world. Germany has been no exception. But although the records to choose from for this year’s German Top 6 are a lot, I found it really easy to pick the “winners”. Some are more obvious than others, but each entry has something special to offer. Here we go.

6. Depravation – II: Maledictvm

Words by Chris Noir

When you read about DEPRAVATION, the term “Blackened Hardcore” will drop sooner or later. In many ways “Blackened Hardcore” is what “Metalcore” was in the 90ies. At first it described something really exciting and new, but quickly became a totally soulless expression that was exploited and due to this got a really negative connotation (or what’s the latest record you actually liked that was “Metalcore” by self-definition?). Of course it hasn’t come so far with “Blackened Hardcore” until now, but it doesn’t seem too unrealistic that pretty much the same will happen sooner or later. So why am I thinking about this?

DEPRAVATION’s first full-length II: Maledictvm reminds me lot of the time when Metalcore wasn’t a swearword. Brutal riffs inspired by Thrash and Death Metal put into scary Hardcore songs with furious double bass attacks and breakdowns so heavy the devil himself probably shits his pants while listening to this. Bands like Arkangel, Morning Again or Disembodied could all have inspired what’s going on on this record. Add a thoroughly dark imagery and you get one of the heaviest Hardcore albums of 2k13.

The production of II: Maledictvm is thick and heavy but still leaves enough room for thrilling dynamics. Calm intros and interludes help to create a very dense, bleak atmosphere and perfectly contrast the remorseless, head-hits-concrete-attempt the band delivers. The throaty vocals sound pissed off to the max and leave no doubt that the main fuel for DEPRAVATION is probably nothing but unfiltered hate.

A stunning fact about II: Maledictvm is that it is only the first proper record of DEPRAVATION (not counting the demo). By the time of the actual recording, the band had existed for just a bit over a year. Maybe due to this II: Maledictvm sounds so impetuous, violent and fierce; I really hope the band will be able to keep this feeling on future recordings.

Having that said, if you like your Hardcore excessively metallic, ridiculously heavy and full of gruesome symbolism, DEPRAVATION’s II: Maledictvm is a must-have.

facebook.com/depravationkills

5. Sun Worship – Surpass Eclipse

Words by Chris Noir

This two-song 12″ is one of those records I’ve slept on way too long on. I mean, I’ve heard the name SUN WORSHIP from a friend who recommended the band to me, and so I checked it out and liked what I heard, although I didn’t feel the urgent need to purchase the record a.s.a.p. But fast forward a few months – I witnessed the band playing live at the Haglaz Fest in Mülheim and was completely floored. One drummer and two guitarists simply performed one of the most intense shows I’ve seen this year. Since I might have been a little bit tipsy, I had one of these retrospectively, rather embarrassing, conversations with one of the (totally sober) guitarists, telling him how awesome they were and that I’d love to play a few shows with them and my own band and what not. Well, all of this is still totally true; I just hope I didn’t seem too much like a drunk windbag. So if anybody from SUN WORSHIP reads this: I totally meant everything I said and still do.

So far for the cool story bro. That very night I also purchased the one-sided 12” titled Surpass Eclipse that comes with a beautiful silkscreen print on the flipside. Since I’ve been fascinated for a while with the fact that basically all major religions have their very earliest roots in pagan sun worship and so many myths and rituals are built on different aspects of this, the band charged through an open door in me. In combination with the arcane artwork there’s an undeniable puzzling aura surrounding the band. If you’re now expecting another one of those way too calm, stale and plagiarized “Cascadian”-style Black Metal records, I have to disappoint you.

The riffs of SUN WORSHIP owe a lot more to the advocates of the Scandinavian Second Wave than to WITTR et al., with their harsh, aggressive but highly melodic compositions. The lack of a bass leaves a lot of room for the six-strings to disseminate and gives Surpass Eclipse a stunning, crystal clear sound that bursts upon you like the very first sunbeams in the early morning. Besides a bit of reverb there’s not too much gimmickry going on, which contributes to the very pure feeling of the record. The vocals couldn’t fit into the mould any better: emotional, angry and desperate screams cut through the blistering music, taking no prisoners whatsoever.

All of this would make the 13 and a half minutes of Surpass Eclipse a great Black Metal EP already. But the drumming is the really outstanding element that binds it all together. Diversified, uncompromising, thrilling and perfectly sounding every single beat enhances this record to a whole new level. I still don’t know if I should be paralyzed in awe or risk a serious whiplash while headbanging to the pummeling drum performance. All wrapped up in a really elaborate song-writing, SUN WORSHIP are one of the most positive surprises this year.

So as you might guess, after seeing the band live I listened to this record a lot. I absorbed the bold aggressiveness as well as the subtle undertones, being completely taken in by the solar winds happening throughout every note played. And although the stunning live experience is something a record could hardly render, Surpass Eclipse is damn close up to it.

Sun Worship on bandcamp

4. Jungbluth – Part Ache

Words by Bill Haff

What does German resistance fighter Karl Jungbluth have in common with Hardcore? Really, nothing (aside from resisting Nazis being totally hardcore). But German Hardcore outfit JUNGBLUTH have named themselves after this man who was executed by the Nazis in 1945. No, this isn’t a history lesson; it’s a review on JUNGBLUTH’s album Part Ache. This nine track album blends Hardcore, Screamo and Post-Rock into a nice little package.

“Crevasse” is an airy opener. Elements of Post-Rock fluidity come racing in, creating this atmosphere that is different from the rest of the album. Gigantic drumming and wafty riffing set the tone for something completely different. “Crevasse” has its own feel to it; a mark of a band experimenting with their sound. The next track, “Wakefield”, hits; a blitzkrieg of Hardcore. JUNGBLUTH moves at lightning speed, pummelling away with this blackened Hardcore feel. At the middle of the track there’s a breakdown — this raw emotional intensity comes out. Vocally, there is a lot of passion being laid out. Distorted vocals scream out lyrics in such an unfiltered way; these kind of vocals exist throughout the album.

“Au Revoir Tristesse” starts off with a sludgy bass, full of fuzz as the drums just create fills. Simple beats with thrown in fills give way to the guitars that create some Post-Rock ambiance. The track begins to build up steam; it gets louder and heavier. It’s a pure instrumental track, there to create this atmosphere. Amidst these shellshocks of Hardcore bliss, the Post-Rock feel exists as a break in the action, and one that doesn’t feel out of place. Still, some Hardcore elements make their way through and rip at the seams; the heaviness of the bass and the raw intensity of the drums are prime examples of a Hardcore-Punk act forming their own style of Post-Rock.

What happens when you mix all these aforementioned genres together into one track? “Zwang Abwärts” is an amalgam of all these ideas. A blend of old school Hardcore mixed with the raw emotional intensity of Screamo and the atmospheric Post-Metal sentiments of acts like Pelican, the recipe here calls for an aural attack. Heavy, crunching guitars with punishing drumming, meeting the same type of distorted vocals. As the track moves into a more instrumental towards the middle, there’s a very blackgaze feel to it. These are some of best creations of JUNGBLUTH; the ability to play powerful, tough Hardcore, and then be able to switch into this combination of shoegaze-y Post-Rock is like trains switching tracks, speeding up then slowing down.

The album ends with “Crevasse II”, and, as expected, it is another airy song. An acoustic guitar strums along the same pattern. A xylophone is being played. Guitars resonate and build this track up. The drums crash, seemingly off in the distance. This is more Explosions in the Sky type, but one that works so well. It is a cleansing. It’s all the hopeful ideals, coming together, and being wrapped up in one little package. It’s a beautiful track, so strikingly different from the other hardcore anthems that JUNGBLUTH is privy to, but it’s a track that makes sense as part of a grander picture.

This album grows on the listener. Employing such differing genres into one mix seems like a disaster, but JUNGBLUTH does it so well that sometimes you forget you’re listening to a Hardcore-Punk album. Emotional intensity meeting the toughness of old school Hardcore, and the wafty soundscapes of Post-Rock, it seems as though JUNGBLUTH is carving out their own niche in a scene that has too many genres to even list. Part Ache is an exploration into unknown territory, and one pulled off well. Someone build a time machine and ask Karl Jungbluth what he thinks.

facebook.com/Jungbluthpunx

3. Nightslug – Dismal Fucker

Words by Brandon Elkins

It’s not often that a band impresses me on first listen like Germany’s NIGHTSLUG have, but this power trio brings a brain-crushing tone that’s heavier than a thousand collapsing bridges.

Leading off with a thundering riff, like the bass-heavy rattle of album opener “No Relief,” is a grand way to introduce new listeners to the ugly piece that is Dismal Fucker. “No Relief” has a heavy stride that sets the stage for the rest of the album. Never getting above a solid gallop, NIGHTSLUG move through songs like “Sick,” “All Is Hell” and “Into Oblivion” with a metered groove, focused on punishing the listener as much as entertaining them.

Thankfully, the production is befitting of this wall of noise. The overall tone is centered on the crushing distorted bass of P. Slug, allowing the guitar to riff, occasionally warble, or feedback over the stomp. Shades of experimentation creep in at the edges, most notably in “On Field of Mayhem.” This near-13 minute rager closes out the album with insane levels of glacier-slow riffs and the ubiquitous reverbed vocals of J. Slug hovering over it all, ghostly and spaced-out. From start to finish, the noise of Dismal Fucker is unstoppable and cohesive.

NIGHTSLUG is definitely a band that has left a distinct mark on my ears. Their Sludge rumble is tempered by an accomplished delivery that sounds like ten dudes in a mountain hideaway rather than the trio of guys hunkered down in some sweaty practice space they (more than likely) are. There is a definite comparison to be made here between NIGHTSLUG’s dank rumbles and the industrial-influenced Doom of Brooklyn’s Batillus. And that’s definitely not a bad thing. Grab anything NIGHTSLUG you can get your grubby little mitts on.

facebook.com/nightslug

2. Deathrite – Into Extinction

Words by Jonathan Keane

Germany’s DEATHRITE are an imposing presence in every way. Just look at the horror dripping from their logo and the image of Death dominating the cover of Into Extinction. However, superficial elements aside, DEATHRITE have their devastating music in check and Into Extinction is one of 2013’s dirtiest and darkest Hardcore records of the year.

With Crust and D-Beat firmly in tow, these Germans know exactly what their MO is on the half hour long LP. There’s simply no messing about, these are face ripping sonic dirges that waste no time in living up to their name – bringing extinction.

That said, DEATHRITE may be all about the pummeling dark abyss but they never lose track of the “song” as believe it or not, there are even riffs on the LP that you could call catchy and memorable. For all their barbarisms, DEATHRITE are still good songwriters.

First track, ‘Forsaken Tombs’ makes this clear straight away with a searing guitar and drum combo that, while aided by a slick production, is cavernous and savage. The riffs are dripping with a flavour of Swedish Crust, an obvious but still powerful influence, but sound totally invigorated here.

The pummeling nature of the music is counteracted only the grief and sorrowful subject matter and with track titles like ‘Born Under A Guillotine’ and ‘Revenge and Reparations’, it’s clear where DEATHRITE’s focus lies – creating something bleak but still totally punishing.

‘Vicious Throne’ is a perfect example of this band at their most terse and belligerent with a minute and half of crusty guitars and grinding drums to start leading us into a ferocious breakdown that fearlessly rings the listener’s neck.

Meanwhile, a song like ‘Deathbed’ flatters with a doomier trudge and to end with the 48 second blaze of ‘Infernal Void’ to whip us back into familiar territory and the near six minute closer of ‘The Golden Age’ really wraps this record up nicely with some of the album’s sharpest riffs that bookend this ruthless foray.

We needn’t remind you that CVLT Nation are streaming Into Extinction in its entirety right now. So, excuses? You have none.

facebook.com/deathrite666

1. Fyrnask – Eldir Nótt

Words by Chris Noir

Bells. Ritualistic chants. A timbal. What we hear is not some arcane field recording of a mysterious pagan ritual, but the intro of FYRNASK’s Eldir Nótt. The German one-man Black Metal outfit, whose sole member Fyrnd takes care of all the instruments, arrangements an the vocals, is around for about five years now. And to pre-empt the essence of this review: Eldir Nótt is not only the best record of FYRNASK up to date, but one of the best Black Metal records this aging year has seen.

Directly from the start, Eldir Nótt creates a very palpable, shadowy atmosphere. Or better, Eldir Nótt is pure atmosphere itself – listening to the 56 minute long album is like a journey to a forgotten past, through endless forests underneath the cold and immemorial stars. To enable this terrifying experience, FYRNASK makes use of nothing but the classic elements that have been established in the Black Metal genre in the early to mid 90ies. There’s a very Scandinavian vibe to the record, the production is quite sparse, the riffs are often reminiscent of Norwegian cvlt bands like Hades (Almighty) or Darkthrone (Transilvanian Hunger era), exploring the blackest melodies and harmonies there are without wimping out. The drumming is kept simple but highly hypnotic due to its affection for lengthy blast-beat passages.

During and between the songs there are a lot of quiet, almost ambient-like moments, the constantly recurring calm before the storm. I dare to say that these calm passages are not too far away from what’s happening in a lot of USBM these days, Ash Borer for example. These tracks and moments, quiet as falling leaves, help to condense the overall vibe of Eldir Nótt, making it like a soundtrack to the journey your mind might take while listening. Needless to say, FYRNASK’s new record is giving you the best experience when you take the time and listen to the whole thing from start to finish.

So just in case you’re now a bit turned off by the excessive mentioning of the atmosphere present on Eldir Nótt – that’s not the whole story. In fact the album is also really aggressive at times, proving that FYRNASK haven’t forgotten that good Black Metal always contains a certain sinister atmosphere and severity. The vocals are harsh as fuck (the German respectively Old Norse lyrics add a lot to that), the metallic riffs are played blisteringly fast and there are moments on Eldir Nótt when FYRNASK sounds like the total embodiment of wrath. So this record isn’t tame by any means.

FYRNASK achieved something very difficult with Eldir Nótt, which is the perfect balance between melancholy and fury. Many Black Metal bands certainly try, but these days many tend way too much towards the calm side of things, writing easy-listening records that miss passion and boisterousness. FYRNASK show the world how to do it right, delivering, as mentioned above, one of the best Black Metal records of 2013 and probably one of the most important, too. If you have only the slightest interest in Black Metal you need to hear Eldir Nótt.

facebook.com/Fyrnask