TOTENMOND - Der letzte Mond vor dem Beil

Totenmond - Der letzte Mond vor dem Beil

10 songs
40:11 minutes
***** ***
Massacre

Bandpage

Has it really been already eight years since the last album by Totenmond? Few other German bands are able to come up with such intensive music as this trio, whose debut album came out twenty years ago, although the bandís roots go even deeper, back into the mid-Eighties when some of the musicians played together under the name Wermut. But back to the present and the bandís newest and eighth album Der letzte Mond vor dem Beil.

Not that much has changed with Totenmond, if anything at all. What they have always been known for is for their virulent anti-Nazi attitude, and if that was still something common back in the Nineties, nowadays there are more and more German bands that claim to be apolitical but often have the most loathsome connection to the radical right. In that way, I am more than happy that Totenmond are still around to prove that you can create aggressive metal music with German lyrics that you donít have to be ashamed to be listening to.

So what about the new album? It starts with the nearly eight minute long Die Entheiligung des blasphemischen Josef und der ewige Regen, which start with rain and bird sounds, and frankly feels like an overlong intro, except for the last minute where the band finally finds their way to their ultra-brutal sound. I have to admit that for an opener it is a bit disappointing, but from here onwards, things become much tastier. The following HŲlle mit Hof is a short, fast and angry tirade against religion with such nice lyrics that translate to "God is a whore that anyone can fuck". This is one of the bandís more upbeat tracks, combining their signature death metal sound with a snotty punk attitude. Blut auf Krank is more typical Totenmond, with sludge metal elements making for an even more threatening sound.

Itís rare to find bands that combine death metal, doom metal, sludge metal, crustcore and punk, and after all these years it still works great for Totenmond. By combining the violence of metal with the attitude of punk, all of this coming with a wholesome political attitude, even though tinged with nihilism, Totenmond are still adhering to a stylistic sub-genre they have probably invented themselves. Apart from the too long opener, the last two tracks also stand out as rather unusual pieces. On Into The Fire, the band for once sings in English, which frankly doesnít work so well for them, and Die Salbung is a short experimental piece that can be discounted as an outro. What remains are a half hour of splendid noise metal that shouldnít disappoint fans of the band, and maybe show a younger generation what truly vicious music has to sound like. Der letzte Mond vor dem Beil is another welcome addition to Totenmondís already vast discography.

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