Vom Fetisch der Unbeirrtheit (to be known further as VFdU for the remainder of this review) are a German experimental band, focusing on exploration of the philosophical meaninglessness of life through their sounds. Their album, which will release on 9/23/13, is Vertilger. Billed as combining black metal, industrial noise and experimental sounds, VFdU do nothing to disappoint fans of that genre.
The album opens with “Lachenvieh” a seven and a half minute meander through an apiary found in an old warehouse. The singer’s voice lends itself to panic with his harsh, garbled vocals sounding a mixture of croakals and screams. To be frank, the song reminds of a djent approach to black metal that combines the electric/noise soundscape of Circle Meets the Square or Ministry. The metal sounds are stunningly raw in comparison to the noise components, but serve seem to serve to focus solely on the rhythmic side of the party rather than the melodic.
“Schabenbrut” expands on this approach, opening with possibly the most disconcerting mixture of electronic noise and pained howling I’ve ever heard in song. The 20 minute long production suffers no moments of emotional intensity, throwing any number of schizophrenic soundscapes at your ear in a never ending assault of the senses (how we got to an electronic component that included the stereotypical music of a French cafe, I’ll never know). Ultimately, the song’s core centers around its math rock structure; though when VFdU get to the point and hit you straight with their black metal that transitions into acoustic parts while still being accented with electronics, the song comes more clearly into view (see: 12 minutes through the end of the song).
“Multiformale Lieberdimension” is essentially an instrumental electronic piece topped with ominous spoken word that bleeds to “Kadavermeer” that opens with a gentle swath of warm guitar tones behind the singer’s wail, who evokes a German Nick Cave warble on the song. Unfortunately, this does not develop further as it breaks back into the band’s djent styled Black Metal, where the tremolos hum in the background before breaking back into a more logical extreme section. Ultimately, this composition is my favorite on the album, if only for its ambition. “Prothesensucht” continues the intensity of this approach, exploring the ideas further.
Fans of this genre should find some redeeming qualities here; however, the first half the album comes across to me as intensity porn. The heady ideas of exploring meaningless (while I did not read the lyrics) do not come across in song, rather they are hidden in a senseless dance of schizophrenic soundscapes. The last half of the album actually details a logical progression of soundscapes and twisting turns in the style of DEP or other math rock stylings. Fans of France’s The CNK and Ministry or even Grindcore or Noisecore music should find something here. Yet, I’m sitting here at the end of this review, wondering whether or not I listen to music or an amalgam of sounds. If that’s the point of their philosophical approach, then I guess it worked. This listener just didn’t get it.