Review Summary: Kann denn Liebe Sünde sein? Not on this release of well-made NDH tracks with only a touch of concern
Kann denn Liebe Sünde sein? Eisbrecher would like us not to think so. After all, indulging NDH fans with what they want the most made their previous release Antikörper the success it was. A lack of deviation from the formula laid out during the 1990’s by Oomph! and Rammstein was never attempted, let alone even considered. Now with Sünde Eisbrecher have once again returned to the realm of NDH, and like before walking the well worn path has won over innovation and breaking out the bubble. It is not suffice to say that sticking to their guns can be considered bad, as Sünde again rivals Antikörper in terms of aggression, catchiness and lack of filler. What is problematic is the shadow lurking under the surface of the glamour, the threat which can quickly turn Eisbrecher around from success to failure. That threat is creative exhaustion.
As with Adrenalin, Eisbrecher starts off with a bang in Kann denn Liebe Sünde sein? one of the best tracks featured on the album. After the female chanting quickens your nerves in preparation for the inevitable, the guitars and Wesselsky do not disappoint, delivering everything and more as promised for their follow up. The aggression remains, powering the choruses while toning down in favour of synth-led verses before culminating in an outro worthy of being imprinted in one’s mind. Wesselsky continues on with the growling, raspy vocals, barking out German with a fervour before chanting slightly to end the song. Followers Alkohol and Komm süsser Tod keep the passion, trading more traditional metal for a more industrial approach while never surrendering the aggression. Komm süsser Tod especially sees Wesselsky barking out the chorus to a mesmerizing synth lead, once again broken in by unsuspecting and quiet verses. Indeed not much can be considered wrong with the first half of the album, keeping all the traditional elements of NDH while giving tracks the extra nudge needed to be transformed from wasted filler to excellent pieces. Later songs such as Herzdieb and Zu Sterben even see Eisbrecher perfecting their ballads and more ‘softer’ pieces, firmly uniting the many working gears of guitars, synth, and vocals together to form some of their best songs. This is Deutsch sees probably one of their best clubby tracks, with synth lines and vocals synergizing together to create one more exceptional stand out piece.
The first red flags get raised in Heilig and the bonus Blut und Tränen. The aforementioned creative exhaustion threat quietly raises its ugly head here, with Heilig unable to keep the momentum going from the previous Komm süsser Tod. Although a minor bump on the album, its chorus lacks the substance needed to want the listener to return to the song. Coupled with Verdammt sind it creates a moment in the album which could be the best part described as filler. While not terrible as a whole, parts of Heilig indicate a loosening of ideas and the possible beginning of a lack of innovation in terms of song writing. Although the rest of the album up to Kuss seems to make this moment out to be the minor bump, Kuss itself does not reinforce this optimism. Completely unnecessary, Kuss as an instrumental would have been better off either left from the album or shortened and placed closer towards the start. Even more than Heilig it does not invite a return listen when other tracks like the previous Mehr Licht are screaming out to occupy your headphones. Matters are further worsened by Blut und Tränen. This bonus track is a good indication of a lack of ideas, featuring a lacklustre chorus and an unneeded extended outro. More reminiscent of earlier tracks like Mein Blut, Blut und Tränen shows the breakdown of the guitar/synth/vocal fusion supposedly mastered not only on Antikörper but also on Sünde in the likes of Herzdieb and This is Deutsch. Unable to propel Wesselsky’s voice, the synth lines ultimately let the song flounder by failing to have anything to help merge the competing parts of the song together, a disappointment after two albums of songs not suffering from this issue.
While featuring some of their best work, Sünde contains a few red flags in parts of songs which could be an indication of Eisbrecher’s tanks running dry. After the likes of Zu Sterben and 1000 Flammen have left one’s headphones, one is left with the vestigial remnants of Heilig, Kuss, and Blut und Tränen fluttering around one’s head. Whether an indication of things to come or just a hiccup in the path to further success, all that we are left with in the end is an album that shows for NDH fans, nay, all industrial metal fans that love truly is not a sin, at least in the realm of good damn music.
Recommended Tracks:
Kann denn Liebe Sünde sein?
Komm süsser Tod
This is Deutsch
. And damn rights I plan on reviewing Eiszeit next, I too think it is their worst release although some tracks like die Engel save it from complete mediocrity. It doesn't bode well for their release next February either way.
