Unzucht – Jenseits der Welt

Rating: 1/5
Distributor/label URL: Out of Line Music
Released: 2020
Buy Album: https://www.outoflineshop.de/catalogsearch/result/?q=Unzucht+jenseits+der+welt&query=SEARCH%21
Band Website: http://www.unzucht-music.com/

Band line-up:

De Clercq – Guitar, electronics
Der Schulz – Vocals
Don Canone – Bass
Fuhrmann – Drums

Tracklisting:

1.) Jenseits der Welt
2.) Ich und Du
3.) Sonnentod
4.) Horizont
5.) Misanthropia (fear. Andy Dörner)
6.) Chamäleon
7.) Nein
8.) Unsterblich
9.) Monsterfreilaufgehege
10.) Frieden
11.) Panzerechse

Remixes/bonus tracks:

1.) Kein Land in Sicht
2.) Nein (De Clercq remix)
3.) Sonnentod (Groovenom remix)
4.) Monsterfreilaufgehege (Johnny Deathshadow remix)
5.) Ich und Du (Alienare remix)
6.) Misanthropia (bonus version)

Review:

 

Sometimes a band takes something very simple and works wonders with it. An album can be perfectly rewarding even if the contents that make it up aren’t especially new or complex, indeed, sometimes that simplicity is a key part of why it works.

At the other end of the spectrum, sometimes an album might not technically do anything especially wrong, but everything about it just exudes this aura of shallow tedium. This is where Unzucht’s Jenseits der Welt falls, sadly.

The band’s immediate first impression is one of a very modern industrial rock(ish) sound. Indeed, the very names of the band and album probably call to mind the Neue Deutsche Harte, the “New German Hardness” pioneered by the likes of Rammstein. However, while this may have some traces of that in its quasi-industrial, quasi-electronic sounds, it often sticks closer to a melodic metalcore path. This is most evident in “Misanthropia”, a track that reminds a lot of Caliban with its down-tuned, chugging guitars, breakdowns and very typical hardcore bellows contrasted against post-grunge cleaner singing. And that’s all before you even notice that Andy Dörner actually is a guest here.

More direct comparisons would probably be to the likes of Deadstar Assembly, Gothminister or Orgy, with a bit of Caliban/Killswitch-y aggression. At heavier parts it can edge towards something like Hanzel & Gretyl, as in “Frieden”, perhaps the best example of their core style.

But however you want to classify the sound of the band, the most glaring issue here is how utterly empty it sounds. Start to finish, Jenseits der Welt is some of the most vapid, shallow and lifeless material I’ve heard all year. It’s devoid of any kind of passion or creativity, with everything being so familiar in the worst ways, so horribly stereotypical and manufactured. Every melody, riff, vocal line, every aspect of the music feels like you’ve heard it a thousand times before, without any attempt to make it stand out. There’s nothing wrong with tried and tested methods, but here it’s all so painfully DULL, as if someone spliced together all the mundane moments of certain bands into a Frankenstein’s monster of filler. The band can faux-roar and crash through breakdowns as much as they want, but it still hits with all the force of a dusty fart.

“Chamäleon” is painfully boring and generic, with some of the most feeble guitar work imaginable, and song-writing we heard more than enough of in the 90s: “chug-chug-chug-melodic pop rock crooning-chug-chug-chug”. The occasional track throws in a bit more aggression, as in “Sonnentod”, but it all-too-often reverts back to more bog-standard melodic crooning, and even the more forceful riffing still feels bland. Despite their short lengths, many songs also still manage to feel strung out, all of it passing in one ear and out the other, generating as much attention as passing cars on the road.

The album also includes a half a dozen remix tracks at the end, but while there are a lot of things that could be done to improve this album, adding EDM versions of the songs isn’t one of them.

If you’re a big industrial/electro-rock fan and yet somehow haven’t already heard plenty of that style from the last 25 years, maybe Jenseits der Welt will have something to offer for you. For anyone else, there’s nothing to see here.

Review by:

Kieron Hayes

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